STACK 

ANNEX 


THE 


if AL  OF 


irefully  Arranged  and  Compiled  from  the  best  Sources. 


O-.  IB. 

OF  CONCORD,  MASS. 


A.INING  A  FULL  ACCOUNT  OF  THE  MANNER  OF 
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The  Celebrated  Fan  Drill,   the  Philadelphia   Minuet,  Mid  over 

1.00  Tableaux  and  Pantomimes,  carefully  Dramatized 

from  the  works  of  the  eight  Authors  represented. 


COPYRIGHTED  BY  0.  B.  BABTLETT,  OONOOED,  MASS. 


NEW  YORK  : 
SAMUEL  FRENCH  &  SON, 

PUBLISHERS, 

2S  WEST  23 1)  STREKT. 


LONDON : 
SAMUEL   FRENCH, 

PUBLISHER, 

89   STRAND. 


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Amateur  Dramas,  Comedies,  etc 38 

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Bits  of  Burlesque 38 

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4 1 

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THB 


CARNIVAL  OF  AUTHORS 


CAREFULLY  ARRANGED  AND  COMPILED  FROM  THB  BEST 
SOURCES  BY 

G.   B.   BARTLETT 

Of  Ctncord,  Mass. 

CONTAINING  A  FULL  ACCOUNT  OF  THE  MANNER  OF  PREPARING 
EVERY  DETAIL 

THE  CELEBRATED  FAN  DRILL 
THE  PHILADELPHIA  MINUET 

And  over  100  Tableaux  and  Pantomime  carefully  dramatised  from 
the  works  of  the  eight  authors  represented 


Copyrighted  by  0.  B.  BARTLETT,  Concord,  Mass. 


Nnw  YORK  : 
BAMTTEL  FRENCH  A  SON, 

PUBLISHKBg, 

38  WXBT  23D   STREET. 


LONDON: 
SAMUEL    FRENCH,, 

PUBLISHER, 

89,  STRAND. 


INDEX. 


THE  ORGANIZATION    •          •          .          .          .  5 

THE  HALL       ......  6 

THE  MAIN  STAGE       •           .           •           .           •  7 

/THE  BOOTHS               .           .           .           .           •  8 

THB  WORKING  ROLES            .           .           .           .  11 

THE  GENERAL  PROGRAMME    .           .           .           .  12 

THE  PROCESSION         •           •           •           •           .  13 

THE  INTRODUCTION     •           «...  13 

THE  FAN  DRILL          .....  14 

THE  MAIN  STAGE  ENTERTAINMENT    ...  23 

THE  PANTOMIME         .....  25 

The  Booth  Tableaux — First  Night  and  Second  Night 

THE  DICKENS  BOOTH — No.  1             ...  27 

THE  ARABIAN  NIGHTS  BOOTH  No.  2              .           .  31 

THE  TENNYSON               do.     No.  3            .           .  34 

THE  SCOTT                       do.     No.  4             .           .  37 

THE  LONGFELLOW           do.     No.  5             .           .  42 

THE  SHAKESPEARE          do.     No.  6            .           .  45 

THE  WHITTIER                do.      No.  7             .           .  49 

THE  GOETHE                   do.     No.  8            .           .  53 

THE  INTERVAL  SCENES          ....  57 

THE  JARLEY  WAX  WORKS      ....  62 

THE  MINUET   ..•'••••  68 

THE  GRAND  FINALE  .           .          •           .          •  64 


The  Carnival-(S)        o  ~ 

20,90168 


THE  CARNIVAL  OF  AUTHORS 


organization  is  of  course  the  first  step  in  pre- 
paring  the  carnival,  and  for  this  purpose  it  is 
necessary  to  assemble  as  many  of  the  people  in- 
terested as  possible,  care  being  taken  to  invite  pro- 
minent members  of  all  the  churches  in  the  city  and 
representatives  ot  every  clique  and  set.  If  possible, 
the  officers  of  military  companies  and  members  of 
the  various  secret  and  other  benevolent  societies 
should  be  invited,  in  order  to  secure  a  widespread 
interest  in  the  cause.  Great  tact  and  care  will  be 
needed  by  the  nominating  committee  to  see  that 
each  person  is  given  an  office  suitable  to  his  powers 
and  influence,  and  it  is  therefore  well  to  have  fifty 
members  of  the  committee  of  arrangements.  This 
list  is  first  made  and  acted  upon,  and  they  choose  an 
executive  committee  ot  fifteen  members  and  a  com- 
mittee of  management  of  seven,  which  are  all  of 
course  selected  from  the  committee  of  arrangements. 
Upon  the  smaller,  or  managing  committee,  most  of 
the  labour  and  responsibility  rests,  as  they  take  the 
general  charge  and  oversight  of  the  whole  affair, 
being  assisted  by  the  following  officers,  whom  they 
select : — the  general  manager,  who  must  have  rare 
executive  powers  and  know  how  to  act  in  an  emer- 
gency ;  the  treasurer,  who  has  the  whole  charge  of 
the  tickets  and  of  all  payments  and  receipts ;  the 
manager  of  the  main  stage,  who  must  have  skill  in 
grouping,  a  quick  eye  for  effects  and  a  power  of 


6         THE  CARNIVAL  OF  AUTHORS. 

working  rapidly  whatever  the  confusion,  besides 
being  a  judge  of  human  nature  and  able  to  keep  his 
temper  under  all  circumstances;  the  herald,  who 
must  have  a  clear  and  powerful  voice  and  a  good 
share  of  confidence ;  the  leader  ot  the  orchestra,  and 
two  marshals  for  each  of  the  booths.  Two  ladies  of 
taste  and  experience  must  also  be  chosen  for  each 
booth,  who  are  expected  to  take  entire  charge  and 
to  find  persons  to  fill  all  the  parts  required,  and  to 
see  that  they  are  correctly  costumed  and  grouped, 
and  that  they  are  always  ready  at  the  signal.  The 
doorkeepers,  ticket-sellers,  police,  and  other  officers, 
are  under  the  control  of  the  treasurer,  who  also 
appoints  people  to  sell  tickets  in  music  and  other 
stores  at  various  parts  of  the  city.  In  this  depart- 
ment also  comes  the  advertiser,  whose  duty  it  is  to 
act  under  the  treasurer's  orders  in  preparing  local 
and  other  notices  for  the  papers,  and  in  distributing 
the  complimentary  tickets,  which  should  be  strictly 
limited  to  the  press.  Much  depends  upon  the  choice 
of  a  hall,  the  selection  of  which  depends  upon  the 
committee  of  management.  It  should  be  long  and 
narrow,  and  have  no  galleries  excepting  at  the  end. 
In  many  cities  a  skating  rink  has  been  used,  but  the 
best  one  for  the  purpose  is  a  handsome  and  comfort- 
able hall,  with  a  level  floor  and  a  raised  stage  at  one 
end,  and  platforms  along  the  sides,  as  in  some  cities 
the  low  galleries  which  surrounded  the  room  ren- 
dered it  necessary  to  make  the  floor  of  the  booths 
only  2J  feet  high,  so  that  very  few  persons  could 
see  them  to  advantage.  It  is  imperative  that  the 
floor  of  each  booth  should  be  at  least  4£  feet  from 
the  floor  of  the  hall,  and  be  raised  6  inches  higher 
at  the  back,  so  that  they  can  be  distinctly  seen. 
From  the  centre  of  the  hall  long  festoons  of  bunting 
may  be  hung  in  graceful  folds  to  the  upper  corner 
of  each  booth  and  the  main  stage,  in  front  of  which 
must  be  placed  a  platform  2  feet  high  for  the 
orchestra,  on  which  is  a  small  one,  a  foot  higher,  for 
the  trumpeter  who  sounds  the  signals  and  the  boy 


1HE  CARNIVAL  OF  AUTHORS.         7 

who  strikes  the  gong  in  obedience  to  the  orders  of 
the  general  manager,  who  directs  him  through  a 
speaking-tube  from  the  left  corner  of  the  main 
stage.  The  main  stage  should  occupy  the  end  of 
the  hall  as  beforementioned,  and  should  be  fitted 
with  four  grooves  of  scenery  and  a  drop  curtain. 
The  scenes  needed  will  be  a  horizon  or  water-land- 
scape, a  wood,  a  garden,  a  kitchen,  a  plain  chamber, 
a  palace,  and  a  fancy  chamber.  A  pair  of  plain 
black  flats  will  also  be  needed  for  the  exhibition  of 
statuary;  these  should  be  on  rollers  in  order  to 
move  smoothly  and  rapidly,  as  it  will  often  be 
found  more  effective  for  rapid  changes  in  grouping 
to  move  the  flats  than  to  drop  the  heavy  curtain. 
A  very  powerful  row  of  gas  burners  should  be 
placed  over  the  top  of  each  set  of  grooves,  with  not 
less  than  thirty  8-fooc  burners  in  each  row,  and  a 
concave  reflector  of  bright  tin  should  be  arranged  to 
direct  and  economise  the  light  in  such  a  manner 
that  it  can  be  concentrated  on  tho  back  part  of  the 
stage.  It  will  be  well  also  to  have  placed  behind 
the  fourth  groove  a  gilt  frame,  6£  feet  high,  and  5£ 
feet  wide,  inside  measurement,  and  30  inches  wider 
each  way  on  the  outside.  This  must  be  draped 
closely  in  black,  and  must  have  a  black,  smooth 
background.  It  must  also  have  a  short  row  of  gas 
lights,  2  inches  from  the  lower  edge  of  the  top  bar 
of  the  frame  on  the  inside,  and  a  reflector  to  throw 
the  light  on  the  figures  which  stand  behind  it.  In 
this  frame  pictures  can  be  presented,  which  resemble 
real  ones  so  closely  that  it  is  almost  impossible  to 
detect  the  illusion.  A  frame  of  this  kind  can  also 
be  used  to  some  advantage  in  the  booths.  A  row  of 
footlights  must  be  arranged  in  front  of  the  stage, 
and  if  it  is  large  a  calcium  light  or  two  can  be  used 
to  add  to  die  effect  by  throwing  coloured  light. 
This  stage  should  also  be  furnished  with  rocks  of 
various  sizes,  a  foreground,  and  two  water  strips. 
It  should  also  have  a  large  boat  highly  ornamented, 
with  a  swan  on  the  bow  and  a  large  shell  at  the 


THE  CARNI  TAL  OF  AUTHORS. 

stern.  This  can  very  easily  be  made  by  drawing  the 
figures  in  profile  on  thin  boards,  which  are  after- 
ward sawed,  and  painted  in  water  colour.  In  most 
cities  a  set  of  suitable  scenery  can  be  hired ;  but 
when  it  is  painted  for  the  purpose,  the  proscenium 
should  be  of  a  Gothic  style,  and  have  portrait  busts 
of  the  various  authors  on  the  side  panels,  with  a 
figure  of  Fame  holding  a  wreath  in  her  left  hand 
and  a  trumpet  in  her  right  surmounting  the  left 
corner,  and  on  the  right  a  figure  of  History  with 
tablet  and  scroll. 

The  Booths  give  fine  opportunity  for  scenic  effects, 
being  27  feet  wide,  and  each  connected  with  the 
others  by  a  continuous  series  of  well  managed 
drapery  in  skilful  paintings.  The  height  of  each 
from  the  floor  of  the  hall  to  the  top  of  the  pro- 
scenium is  26  feet,  with  an  opening  for  the  curtain 
10  feet  in  height,  and  each  measures  about  14  feet 
in  depth  on  its  floor  or  stage.  The  space  between 
each  one  will  vary  of  course  according  to  the  length 
of  the  hall  and  number  of  booths  on  each  side ;  but 
the  wider  the  better,  as  these  spaces  are  needed  for 
the  concealment  of  the  actors  and  properties  not  in 
use  in  the  scene.  These  booths  are  all  draped  inside 
alike,  with  plain  drapery  of  narrow  cambric,  dull 
side  out,  and  the  curtains  are  of  thick  canton  flannel 
of  the  same  shade.  The  exteriors  are  of  course 
different,  each  one  being  exactly  adapted  to  the 
author ;  that  for  the  Dickens'  Booth,  which  leads 
the  van,  shows  the  exterior  of  John  Peerybingle's 
cottage,  the  roof  white  with  snow,  while  icicles  hang 
pendant  from  the  eaves.  On  one  side  is  seen  the 
chimney-nook,  from  whose  depths  the  kettle  hums 
its  cheery  song  and  the  cricket  chirps  its  merry, 
contented  notes  in  unison,  to  gladden  the  hearts  of 
the  busy  little  housewife  Dot  and  her  inimitable 
Tilly  Slowboy.  Upon  the  opposite  panel,  appear 
in  full  costume  Mr  Pickwick  and  the  immortal 
Sam-i-vel  Weller,  as  large  as  life. 

The  Tennyson  Booth  has  the  dead  Elaine  attended 


THE  CARNIVAL  OF  AUTHORS.  9 

by  her  ancient  henchman,  floating  over  the  summer 
stream  upon  her  barge 

4  Pall'd  all  it's  length  in  blackest  samite/ 
while  side  by  side  '  the  dumb  old  servitor,' 

'  And  the  dead  steered  by  the  dumb  went  np  with  the  flood,' 

while  on  one  panel  is  seen  Sir  Launcelot  on  his 
mighty  charger,  starting  forth  across  the  solitary 
downs.  On  the  other  side  appears  a  well-ordered 
group  of  antique  armour,  standards,  heraldic  banners, 
staves,  etc. 

Above  the  Booth,  sacred  to  the  great  bard  of 
Avon,  is  seen  the  interview  of  Macbeth  witli  the 
witches.  The  terrible  sisters  are  fading  into  the 
nebulous  distance  beyond,  appearing  dimly  on  the 
impalpable  air,  while  the  tempted,  half-crazed  Mac- 
beth appeals  to  them  to  stay.  At  the  other  side 
stands  Hamlet,  and  as  if  to  make  as  marked  a  con- 
trast as  was  possible,  even  amidst  the  most  unlike 
of  all  Shakspearean  creations,  near  to  him  is  seen 
Falstaff  the  rubicund  and  jolly.  The  base  is  crowded 
with  emblematic  bas-relievo. 

The  companion  poets,  Longfellow  and  Whittier, 
have  the  Booths  dedicated  to  their  works,  sur- 
mounted by  a  semblance  of  that  muse  whom  poets 
worship — Calliope — who  crowns  both  bards  with 
the  laurel  of  victory.  At  the  sides  are  scenes  from 
the  Mayflower  and  the  'Snow-bound  Cottage.' 

Over  the  Scott  Booth  stands  '  Old  Mortality'  and 
his  faithful  comrade,  the  old  white  pony.  Upon  the 
panels  on  either  side  are  heaped  up  emblems  of 
knightly  times,  armorial  bearings,  heraldic  stan- 
dards and  such  like  appropriate  accoutrements. 
The  colour  effects  are  very  fine. 

Above  the  Arabian  Nights  loom  lofty  domes  and 
palace  roofs,  mosques  and  minarets,  with  their  tall 
spires  and  swollen  domes. 

Above  the  Goethe  Booth  the  lovely  fair-haired 
Marguerite  sits  at  her  spinning-wheel,  and  one 


10        THE  CARNIVAL  OF  AUTHOKS. 

panel  bears  the  picture  of  Wilheim  Meister,  and  on 
the  other  Charlotte  is  cutting  the  generous  loaf  for 
the  benefit  of  her  waiting  guests,  and  a  portrait 
bust  of  the  great  poet  decorates  the  top  of  the 
structure. 

While  the  drapery  in  alike  in  all,  the  pictures  and 
decorations  of  the  inside  of  these  booths  are  changed 
for  each  scene.  The  curtains  loop  up  at  each  side 
with  strings,  and  are  brought  down  by  a  weight  at 
the  corners,  and  each  one  is  lighted  by  a  row  of  gas 
burners  of  sixteen  lights,  above  and  behind  which  is 
a  large  curved  reflector  of  polished  tin.  No  foot- 
lights are  allowed,  or  any  burner,  within  reach  of 
actors  or  drapery,  except  a  calcium  light,  which  is 
sometimes  used  at  the  left  upper  corner.  A  curtain 
of  black  muslin  is  drawn  very  tight  across  the 
front  of  the  stage  behind  the  curtain.  A  long 
passage,  3  feet  wide,  runs  along  behind  the  whole 
row  of  these  booths  on  each  side,  to  allow  the  actors 
to  enter  unseen.  In  order  to  ensure  perfect  regu- 
larity, the  following  list  of  signals  will  be  found 
useful 


*i 

ol  :  - 


•  o 


M  3  oS     "5 


f  .- 

^3 


O 
*3 

-8 


BOOTHS 

S 


§M  ^  •*  ift  l-"j  io  CD 
OO  O  O  O  OO 


*  «f 


- 
o    I      o 

O     HO 


r-j  iH  (M_  CO  •*  •* 

G3  O5  C5  5i  TS  <J> 


2 

Is  3 


S  ° 

•*3  r? 


I 


V 

t 
V3 

1 


. 

«  s  s  a 


s  s  s  s 


12       THE  CARNIVAL  OF  AUTHORS- 


Programme 


EIGHT  O'CLOCK 

Grand   Procession   of  the   Characters 
across  the  Stage 

BIGHT  O'CLOCK,  TEN  MINUTES 

Authors'    Reception 

EIGHT  O'CLOCK,  TWENTY  MINUTES 

Reading  of  the  Address  or  Poem 

EIGHT  O'CLOCK,  THIRTY  MINUTES 

Addison's   Fan    Drill 

EIGHT  O'CLOCK,  FORTY  MINUTES 

Entertainment  on    Main    Stage 

NINE  O'CLOCK 

All  the    Booths   open   for    Tableau 
Performance 

Jarley's    Waxworks 

The    Minuet 
GRAND    FINALE 


THE  CABNIVAL  OF  AUTHORS. 


13 


At  eight  o'clock  precisely,  after  an  overture  by  the 
orchestra,  the  grand  procession,  which  has  formed  in 
the  green-room,  advances  and  marches  twice  around 
the  main  stage  and  halts  in  a  semi-circle  at  the  back. 
Each  one  advances  in  turn  and  is  introduced  to  the 
author  to  whose  honour  the  evening  is  dedicated. 
The  herald  proclaims  the  character  name  of  each  in 
a  loud  voice,  and  they  pay  their  respects  to  the 
author  and  then  retire.  A  short  address  or  poem 
next  follows,  after  which,  at  the  signal,  each  perfor- 
mer takes  his  place  on  the  main  stage  behind  the 
scenes  or  retires  to  the  booths,  and  the  performances 
on  the  main  stage  immediately  begin  with  THE  FAN 
DRILL. 


ENTRANCE  MARCH 
THE  AUDACIOUS  FLIRT 
HANDLE  YOUR  FANS 
UNFURL  TOUR  FANS 
FLUTTER  YOUR  FANS 
THE  MAJESTIC  WAVB 
THE  SCORNFUL  WAVE 
THE  COQUETTISH  FLUTTER 
THE  BASHFUL  FLUTTEB 
THE  ANGRY  FLUTTEB 
THB  MERRY  FLUTTER 
THE  AMOROUS  FLUTTEB 
THE  INVITATION  FLUTTEB 
THE  REPELLANT  FLUTTEK 
GOSSIP 
BALUTB 

XHE  PARTHIAN 


PRESENT  YOUR  FANS 
SHOULDER  YOUR  FANS 
CARRY  YOUR  FANS 
FURL  YOUR  FANS 
CHARGE  YOUR  FANS 
DISCHARGE  YOUR  FANS 
BHOULDER  YOUR  FANS 
GROUND  YOUR  FANS 

ATTACK 

RETREAT 

TRIUMPH 

SURRENDER 
RECOVER  YOUR  FANS 
IHE  GREETING 

FAREWELL 

8ALUTB 
RETREAX 


THE  CARNIVAL  OF  AUTHORS. 


THE    FAN    DRILL 

At  suggested  by  ADDISON  in  '  The  Spectator'  June  27th,  1711 
Composed  and  arranged  by  MRS  P.  W.  VER-PLANCK. 


This  Drill,  set  to  galop  time,  may  be  performed 
by  any  number  of  ladies,  in  any  costume  preferred. 
Before  the  occasion  for  which  it  was  composed  there 
were  six  blondes  and  six  brunettes,  in  the  dress  of 
the  eighteenth  century,  who  drilled  to  the  music  of 
the  '  Attack  Galop,'  as  being  more  marked  in  time. 
There  may  be  a  drill  master  who  calls  the  names  of 
the  movements  for  the  benefit  of  the  audience,  but 
the  ladies  must  be  trained  to  move  to  the  bars  of  the 
music.  An  addition  to  the  dress  is  a  small  fan  in 
the  coiffure ;  they  may  also  be  uniformed,  but  a  har- 
monious blending  of  various  colours  in  the  court  cos- 
tume of  the  time  seemed  more  in  accordance  with 
Mr  Addison's  idea,  viz.,  that  these  were  fashionable 
women  who  came  as  to  a  dancing  school. 

ENTRANCE  MARCH. 

Six  ladies  enter  from  right  of  stage,  back;  six 
from  left  in  single  file,  each  with  her  closed  fan 
upon  her  right  shoulder.  They  meet  one  by  one  in 
centre  of  stage,  curtsey  to  one  another,  proceed  two 
by  two  down  front,  curtsey  in  pairs  to  audience  and 
separate,  those  on  the  right  turning  to  the  right, 
those  on  left  to  left,  and  those  in  single  files  to  back 
of  stage,  where  meeting,  they  turn  and  come  down 
front  in  a  solid  phalanx  of  colour. 

THE  AUDACIOUS  FLIRT. 
Four  Bars. 

This  movement  is  designed  wholly  to  bring  the 
trains  in  proper  position  at  each  lady's  side,  and  to 
add  to  the  grace  of  her  appearance.  On  the  first 


THE  CARNIVAL  OF  AUTHORS.        15 

note  of  a  bar  the  line  turns  completely  round,  those 
on  the  stage  right  turn  to  right,  those  on  left  to  left, 
fanning  their  backs  and  looking  saucily  over  left 
shoulders  at  audience.  They  fan  for  two  bars, 
keeping  marked  time  (which  makes  eight  move- 
ments of  the  fan),  take  one  step  forward  on  the 
'  one-two '  of  next  bar,  a  second  on  the  '  three-four ' 
of  that  bar,  turn  about  on  the  next  bar  on  '  one-two' 
and  wait  the  '  three-four '  out  with  fans  held  upright 
by  both  hands  in  front  of  them  in  readiness  for  the 
next  movement.  The  ladies  should  remember  as 
they  turn  back  that  each  must  complete  her  turn 
(to  left  or  to  right  as  before)  which  brings  each  train 
to  the  proper  side  as  necessitated  for  the  ladiaaat 
either  end, 

HANDLE  YOUR  FANS. 

Four  Bart. 

This  movement  is  one  of  those  described  in  the 
Spectator.  Shake  fans  at  audience  four  times,  {first 
bar)  tap  your  right  hand  woman  on  shoulder,  curv- 
ing the  head  about  towards  her  with  a  smile,  the 
right  elbow  supported  in  the  left  hand,  (second  bar) 
press  fan  to  lips  with  a  smile,  (third  bar)  and  let 
them  fall  in  front  of  you,  still  closed,  (fourth  bar.) 
To  avoid  repetition  it  will  be  hereafter  understood 
that  each  movement  begins  on  the  '  One  '  of  a  bar, 
and  never  ends  until  the  bar  ends,  though  some- 
times grace  requires  that  a  second  or  more  bars  be 
added. 

UNFURL  YOUR  FANS. 
Four  Bars. 

The  fans  being  closed  and  held  by  right  hand  a 
little  Lwer  than  the  waist  to  left  side,  all  ladies 
looking  down,  they  should  open  the  fans  with  one 
finger,  (the  third)  on  '  one-two,'  let  them  fall  to  on 
'  three-four/  looking  up  from  under  their  lashes  as 
the  fan  opens,  dropping  their  eyes  as  the  fan  closes, 


16        THE  CARNIVAL  OF  AUTHORS. 

the  heads  are  all  bent.  The  second  bar  precisely 
the  same.  Third  bar  sees  them  bring  the  fan  up  in 
front  of  them  well  open  and  raising  their  drooping 
heads  as  they  draw  themselves  up  erectly,  with  the 
same  effect  as  the  watered  flowers  in  '  Mary's 
Garden.'  For  the  fourth  bar  they  quiver  their  fans 
almost  imperceptibly.  It  will  be  seen  that  each 
movement  leaves  them  in  ]  osition  for,  and  suggests 
the  next,  and  that  further  on,  sudden  transitions  of 
expression  demand  much  facial  play  to  give  a 
sprightly  value  to  the  whole. 

FLUTTER  YOUR  FANS. 
Two  Bars. 

Simply  fan  eight  times,  on  time,  without  much 
movement. 

THE  MAJESTIC  WAVE. 
Two  Bars, 

Fan  four  times  swinging  the  fan  to  arm's 
length  with  majestic  air  and  slowly  thus — One-two, 
out ;  one-two,  in. 

THE  SCORNFUL  WAVE. 
Two  Bars. 

Turn  heads  well  over  right  shoulders  without 
moving  body,  glancing  at  audience  out  of  the  corner 
of  the  left  eye — fan  in  the  same  slow  movement, 
precisely  as  before. 

THE  COQUETTISH  FLUTTER. 
Two  Bars. 

Turn  the  body  round  sideways  quickly  on  *  one,' 
and  fan  over  to  the  left  shoulder,  at  audience 
rapidly,  four  times  to  the  first  bar;  on  second,  turn 
back  to  position  holding  open  fan  to  the  eyes  and 
laughing  over  it. 


THE  CARNIVAL  OF  AUTHORS.  17 

THE  MODEST  FLUTTER. 
Two  Bars. 

Lower  fan,  drop  eyes  and  head  bashfully,  and  fan 
eight  times  in  the  two  bars,  awkwardly. 

THE  ANGRY  FLUTTER. 
Two  Bart. 

Draw  the  body  upright,  look  angrily  from  side  to 
side,  fan  eight  times,  striking  the  breast  with  the  fan 
noisily  each  time,  so  that  each  beat  sounds  as  one 
all  down  the  line. 

THE  MERRY  FLUTTER- 
Two  Bars. 

The  line  breaks  into  noiseless  laughter  and  sways 
from  side  to  side  as  agitated  by  merriment,  thus : 
sway  to  right  on  '  one-two,'  with  head  well  thrown 
back,  sway  to  left  on  'three-four,'  with  fan  held 
open  in  right  hand  raised  to  height  of  breast.  Do 
not  actually  fan,  as  the  swaying  of  the  body  causes 
the  arm  to  follow  it.  On  second  bar,  lean  forward, 
bringing  fan  in  front,  which  has  the  effect  of  ex- 
cessive merriment.  This  movement,  difficult  of 
description,  always  causes  laughter  in  the  audience, 
of  which  our  coquettes  take  instant  advantage  to 
flirt  with  their  admirers  in 

THE  AMOROUS  FLUTTER. 
Two  Bars. 

Take  one  step  forward  with  appealing  air  and 
left  hand  on  heart.  The  six  ladies  on  right  step 
towards  the  right  (right  foot),  and  those  on  the  left 
to  the  left  (right  foot  forward  also),  and  fan  eight 
times  in  the  two  bars. 


18  THE  CARNIVAL  OF  AUTHORS. 

THE  INVITATION   FLUTTER. 
Two  Bars, 

Remove  the  right  foot  and  swing  the  limb  well 
back  of  you,  which  leaves  the  left  forward  and  the 
body  in  a  retreating  line,  head  alone  inclined  for- 
ward a  little  in  appeal.  Fan  four  times,  emphasising 
the  inward  motion  of  the  fan  as  a  lady  beckons 
with  her  hand.  It  must  here  be  understood  by  the 
line  that  they  fan  in  on  one  and  three — out  on 
two  and  four,  that  all  may  move  together.  The 
hands  are  still  on  hearts.  It  is  also  to  be  re- 
membered that  they  have  a  chalked  line  on  which 
to  stand,  that  at  first  they  have  gone  two  short  steps 
beyond  it  (in  '  Audacious  Flirt ')  and  at  once  re- 
gained it  at  the  end  of  that  movement.  From  that 
time  on,  the  left  foot  never  should  leave  this  line, 
and  in  the  movements  when  one  step  is  made,  it  is 
with  the  right  foot  alone. 

REPELLANT  FLUTTER. 
Two  Bars. 

Removing  hands  from  heart,  bring  right  foot  back 
to  line,  turn  heads  to  left  and  fan  four  times  in  the 
two  bars,  emphasising  the  outward  motion  of  the 
fan  very  markedly,  with  proper  facial  expression  at 
the  same  time. 

GOSSIP. 

Two  Bars. 

This  movement  divides  the  twelve  ladies  into 
four  groups  of  three  each,  and  is  the  only  one  of  the 
series  which  would  be  spoiled  by  change  of  numbers. 
The  first,  fourth,  seventh  and  tenth  lady,  counting 
from  the  end  of  line  at  stage  left,  will  each  turn  to 
their  right,  with  open  fan  held  to  screen  mouth 
slightly  on  left  side,  the  left  hand  held  up  with  fore 
fingei  raised,  and  whisper  behind  their  fans  to  the 


THE  CARNIVAL  OP  AUTHORS.  19 

third,  sixth,  ninth  and  twelfth  lady,  who  have  each 
turned  to  left,  with  fans  held  as  above,  but  in  left 
hands,  and  right  hands  raised.  The  second,  fifth, 
eighth  and  eleventh  lady  have  meantime  thrown 
their  bodies  backward  with  both  hands  raised,  closed 
fan  in  right  hands,  and  amazed  faces  at  what  they 
are  hearing.  The  groups  stand  the  two  bars  out 
thus — when  the  next  movement 

SALUTE. 

Two  Bars. 

Permits  each  to  regain  her  former  position  by 
making  a  deep  curtsey  to  audience,  going  down  on 
first  four  and  rising  on  second  four.  Thereafter  the 
drill  becomes  more  rapid,  the  ladies,  recalled  by  the 
salute  as  it  were  to  a  sense  of  drill,  cease  their 
coquettries  and  commence  more  military  move- 
ments. One  word  here — facial  expression  cannot 
be  sufficiently  insisted  upon.  While  the  movements 
should  be  uniform,  let  each  lady  study  the  transi- 
tions, the  underlying  esthetic  intent  of  the  composer, 
and  express  her  sense  o"  each  movement  and  its 
meaning  by  individual  facial  play. 

PEESENT  YOUR  FANS. 

One  Bar. 

Fans  during  '  Salute '  have  been  held  closed  in 
right  hand.  Open  them  on  '  one '  with  middle  finger 
and  extend  them  towards  audience,  not  quite  at 
arm's  length. 

SHOULDER  YOUR  FANS. 
One  Bar. 

On  '  one  *  of  next  bar  close  fan  and  withdraw  it  to 
right  shoulder. 

CARRY  YOUR  FANS. 
One  Bar. 

Open  them  again  with  one  finger  as  you  bring 
them  in  front  of  breast. 


20  THE  CARNIVAL  OF  AUTHORS. 

FURL  YOUR  FANS. 
One  Bar. 

Let  wrist  and  hand  drop  over  to  left  side,  when 
the  fan  should  close  of  itself. 

CHARGE  YOUR  FANS. 
Two  Bars. 

Tap  fan  loudly  eight  times  (on  time)  in  palm  of 
left  hand. 

DISCHARGE  YOUR  FANS. 
Two  Bars. 

Raise  closed  fan  slowly  to  the  height  of  the  head 
across  to  right  side,  letting  it  reach  there  on  the 
'  four '  of  first  bar,  and  holding  it  by  the  end  stick 
only.  At  the  '  one '  of  second  bar  a  quick  wrist 
movement  forward  and  back  will  snap  it  fully  open 
with  loud  report  and  close  it  again. 

SHOULDER  YOUR  FANS. 
One  Bar. 

Brings  closed  fan  on  shoulder  as  before  to  regain 
position. 

GROUND  YOUR  FANS. 

One  Bar. 

Drops  both  hands  in  front  with  closed  fan,  held 
the  length  of  arm. 

ATTACK. 
One  Bar. 

Suddenly,  from  the  quietude  of  the  last  position, 
each  lady  has  raised  the  right  hand  to  the  height  of 
head,  a  little  back  of  head,  opening  fan  and  holding 
it  with  sharp  edge  outward,  as  a  cavalry  man  does 
in  cutting  down  an  enemy.  The  left  hand  is 


THE  CARNIVAL  OF  AUTHORS.  21 

clinched,  the  faces  are  all  determined,  eyes  flashing. 
The  right  hand  ladies  have  made  one  step  to  right, 
the  left  hand  ladies  to  left,  each  keeping  her  left 
foot  on  the  chalked  line. 

RETREAT. 
One  Bar. 

Sees  each  draw  her  foot  back  to  line  and  with 
raised  shoulders,  cower  tremblingly  behind  her  fan 

TRIUMPH. 

One  Bar. 

Sees  them  as  suddenly  wave  the  open  fan  above 
their  heads  over  the  right,  when — 

SURRENDER. 

Two  Bart. 

Finds  each  with  a  start  of  surprise  falling  upon 
one  knee  with  bent  head  and  deep  resignation.  To 
manage  the  fan  here  requires  practice.  It  has  been 
held  above  the  head  in  Triumph,  and  as  you  fall  on 
the  knee  let  it  swing  round  in  your  hand  so  that 
kneeling  you  offer  its  handle  to  the  audience  as  a 
soldier  surrenders  his  sword.  Your  humiliation  will 
be  but  brief  since  at 

RECOVER  YOUR  FANS. 

Two  Bars. 

You  suddenly  espy  a  new  weapon,  and  each, 
snatching  her  left  hand  neighbour's  fan  with  her 
leit  ham'  rises  as  she  does  so  on  the  '  one-two '  and 
holds  it  open  breast  high — an  end  in  each  hand  with 
a  new  air  of  triumph,  so  standing  the  bars  out.  The 
lady  at  left  end  should  have  provided  herself  with 
a  second  fan  attached  to  the  waist  by  a  chatelaine ; 
the  lady  at  right  end  (stage  right  facing  audience) 
should  have  had  hers  so  attached,  or  have  a  pocket 
wherein  to  thrust  it  quickly  when  she  gets  her 
neighbour's  fan. 


22  1HE  CARNIVAL  OF  AUTHORS. 

OREETINO. 
Two  Bart. 

Consists  in  extending  the  fan  juet  as  yon  have 
been  holding  it  at  both  arms  length  in  front  of  you 
while — 

FAREWELL. 

Two  Bars. 

Consists  in  drawing  it  slowly  into  you  on  first 
four,  closing  it  as  it  conies,  and  kissing  its  tip  before 
waving  it  closed  across  to  right,  arm's  length  in  air 
with  a  fluttering  movement  of  the  wrist,  such  as 
Italian  ladies  use  on  the  Cascine. 

8  A  L  U  T  B. 

Two  Bars. 

Permits  you  to  let  the  arm  fall  as  the  whole  line 
curtseys  to  audience,  down  four,  rising  four,  and 
then  it  stands  ready  to  execute  the  Exit  March, 
called  the 

PARTHIAN  RETREAT. 

The  sixth  and  seventh  ladies  (from  stage  left 
facing  audience),  who  have  been  the  leaders,  turn 
about  towards,  their  followers  and  pass  down  be- 
tween them  and  the  footlights,  the  sixth  lady  turn- 
ing to  her  left,  the  seventh  to  her  right.  It  will  be 
observed  that  the  left  ladies  have  always  turned  or 
stepped  to  left,  the  right  to  right.  They  fan  as  they 
go,  and  their  followers,  who  have  turned  to  face 
each  other  in  single  file,  each  walk  along  fanning  to 
the  ladies'  vacated  places  when  they  turn  and  follow 
each  her  leader.  Each  fans  in  some  especial  flutter. 
The  leaders  have  marched,  so  followed  to  the  ends 
of  stage  each  in  her  own  direction,  up  to  back  and 
crossed  over  to  centre  wings,  where  each  group 
forms  a  semi-ci"de  of  five  behind  its  leader,  who 


THE  CARNIVAL  OP  AUTHORS.  23 

steps  in  front.  Thus  arranged,  the  ladies  formerly 
on  the  right  are  on  the  left  of  stage,  and  vice  versa. 
The  leaders  only  wait  for  the  beginning  of  the 
nearest  bar  to  execute  with  their  soldiers  the  '  Dis- 
charge '  movement  precisely  as  before,  their  followers 
following  their  signal  and  scattering  at  once  by  the 
exits,  to  which  this  arrangement  has  brought  them, 
by  the  wings.  The  leaders  on  either  side,  with  fana 
quickly  held  up  and  open  in  front  of  them,  cover 
the  retreat  by  a  few  quick  backward  steps,  which 
brings  them  within  the  wings. 

The  Orchestra  should  play  a  trifle  slower  than  the 
ordinary  galop  time,  two-four  time  having  been 
proven  to  be  much  the  best  for  the  majority  of  the 
movements. 

When  in  the  exit  march  the  single  lines  have 
crossed  one  another,  those  behind  toss  their  fans  up 
over  their  heads  as  they  pass.  If  encored,  an 
amusing  effect  is  to  have  every  lady  come  out  as 
at  first,  from  either  side,  with  fan  held  up  to  half 
screen  face,  and  looking  as  sheepishly  as  possible 
behind  it,  as  though  overcome  by  the  applause. 

The  Drill  as  arranged  herein  occupies  from  seven 
to  nine  minutes,  upon  a  very  small  stage,  whereon 
the  marches  are  brief. 


After  the  ladies  of  the  Fan  Drill  have  retired  the 
scene  immediately  opens  on 

CLEOPATRA'S   BANQUET 

The  gorgeous  queen  of  the  Nile  reclines  upon  a 
mostly  divan  at  the  top  of  a  throne  standing  on  high 
white  steps,  gorgeous  draperies  fall  from  the  foot 
and  head  on  her  divan,  each  side,  in  jeareless  grace 
to  the  stage.  On  the  steps  stand  coloured  slaves  in 
white  and  gold,  bearing  great  silver  salvers  laden 


24        THE  CARNIVAL  OF  AUTHORS. 

with  wine  and  fruit.  Beautiful  dark  eyed  maideng 
stand  or  recline  gracefully  along  the  steps,  and 
dancing  girls,  and  musicians  stand  in  graceful  atti- 
tudes around.  A  lovely  cupid  stretches  his  golden 
bow,  and  a  mullato  boy  stands  holding  a  gilded  vase 
in  the  foreground.  At  the  top  of  the  group  are 
other  attendants  holding  great  fans  of  peacock 
feathers,  and  canopies  of  silver  and  blue.  They  are 
draped  in  soft  fabrics,  and  laden  with  chains  and 
jewels,  on  their  heads  are  turbans  of  gay  silks,  and 
their  arms  are  loaded  with  bracelets.  The  queen 
wears  an  Egyptian  head-dress  and  is  draped  like 
the  others  but  even  more  magnificent  in  fabric  and 
decoration. 

Two  minutes  after,  a  pyramid  of  classic  statuary 
takes  the  place  in  contrast  to  this  showy  scene. 
Fame  with  wrsath  and  trumpet  is  at  the  top,  Peace 
lies  at  her  feet  with  a  pure  white  dove  in  her  out- 
stretched hand.  Faith  at  her  cross  stands  lower  on 
the  right,  and  on  the  left  a  mother  is  caressing  her 
sleeping  child.  These  are  draped  in  cotton  sheets 
with  whitened  faces,  and  bear  a  very  close  resem- 
blance to  marble  statuary. 

As  soon  as  these  platforms  are  removed,  the  flats 
are  pushed  away  from  the  scene,  and  a  beautiful 
picture  is  ready.  The  five  pictures  from  the  Dres- 
den gallery  are  very  beautiful  if  well  copied,  '  Rem- 
brant,'  '  Cutting  the  Bread/  '  Titian's  Daughter,' 
'  The  Chocolate  Girl,'  and  '  The  Vestal  Virgin  ;'  for 
these  it  is  necessary  to  study  the  photographs  which 
are  so  common,  that  description  is  useless.  The 
pantomime,  Cupid  in  the  Kitchen,  which  follows,  will 
probably  just  fill  up  the  interval  of  twenty  minutes 
before  the  gong  strikes  for  the  booths  to  open. 


THE  CARNIVAL  OF  AUTHORS.        25 

PANTOMIME 
CUPID    IN  THE    KITCHEN 

IN  TWO  SCENES 

BOBIN — Farmer's  frock  or  overalls. 

VOLATILE     White  pantaloons,  dress  coat,-cane,  eye  glass,  tall  hat. 
GRANDMOTHER — Dark  dress,  whitt  cap,  apron,  and  kerchief. 
JENNY,  MOLLIE,  DOLLY,  AND  POLLY— Calico  dress,  white  aprons. 
CUPID — Small,  fat,  pretty  boy,  tight  white  undershirt,  bow  and 

arrows,  pasteboard  wings,  long  stockings,  short  skirt. 
Wash-tub,  large  basket,  cradle,  table  covered  with  a  sheet,  churnt, 

chopping-tray  and  knife,  broom,  four  chair»t  two  pans,  spoon, 

pail,  three  sheets,  knife,  potatoes, 

SCENE  I. 

Grandmother  sits  at  left  rocking  the  cradle; 
Dolly  stands  next  at  churn ;  Polly,  at  centre  behind 
wash-tub,  next  the  basket.  Table  at  right  of  centre, 
behind  which  Jenny  is  beating  eggs ;  next,  Molly 
sits  chopping  hash.  Cupid  is  concealed  behind  the 
table  under  the  sheet.  Robin  enters  with  pail, 
approaches  Jenny,  who  pretends  to  converse  with 
him  with  much  pleasure.  The  Grandmother,  who 
has  fallen  asleep,  suddenly  wakes,  discovers  Robin, 
orders  him  away.  Jenny  puts  her  apron  up  to  her 
eyes  as  if  in  tears,  Grandmother  shakes  her  and 
orders  her  to  continue  her  work ;  a  cry  is  heard 
from  the  cradle,  Grandmother  rocks  it  violently ;  all 
work.  Knock,  Grandmother  goes  to  door,  receives 
Volatile  very  warmly,  who  enters,  struts  about  the 
room,  looking  at  the  girls  through  his  eye-glass. 
The  Grandmother  introduces  him  to  each  one.  All 
turn  their  backs,  and  Jenny  and  Dolly  spatter  his 
V 


26        THE  CARNIVAL  OF  AUTHORS. 

clothes,  to  his  great  disgust;  they  pretend  to  be 
very  sorry,  but  laugh  behind  his  back.  He  draws 
his  chair  nearer  and  nearer  to  Jenny  and  looks 
tenderly  at  her.  Cupid  rises,  aims  at  him  from  the 
top  of  the  table — he  kneels  to  Jenny,  and  all  hold 
up  their  hands  in  astonishment. 

CURTAIN. 


Sc  :NE  II. 

Jenny  sits  at  centre,  a  chair  at  each  side  of  her. 
She  is  beating  eggs  in  a  pan,  which  she  holds  in  her 
lap.  Robin  enters  and  draws  up  chair  on  the  right, 
she  places  pan  on  left  hand  chair  and  shakes  both  of 
his  hands  very  eagerly.  Grandmother  enters,  fol- 
lowed by  Volatile ;  she  is  very  angry  and  turns 
Robin  round  rapidly  and  pushes  him  out  ol  the 
room,  and  follows.  Volatile  exults  in  the  discomfi- 
ture of  his  rival,  and  sits  down  in  the  pan  on  left, 
starts  up  violently,  upsetting  the  chair.  He  picks 
up  the  chair  and  draws  it  near  Jenny,  who  draws 
her  chair  away,  he  follows  and  seizes  her  hand, 
which  he  raises  to  his  lips,  she  pulls  her  hand  Away 
and  he  kisses  his  own  hand.  Robin  enters  and  sits 
in  chair  at  right.  Both  draw  near  Jenny,  holding 
out  their  hands  and  turning  away  their  faces.  She 
takes  their  hands,  joins  them  together,  and  rises 
quietly,  laughing.  They  press  each  other's  hands, 
turn  around,  discover  their  mistake.  Volatile  is 
very  angry  with  Robin.  Jenny  comes  between 
them  and  tries  to  pacify  Volatile,  who  extends  his 
arms  and  rushes  toward  her.  She  extends  her  arms 
also,  but  dodges  under  his,  arid  he  embraces  Robin, 
who  seizes  him,  drops  him  into  the  basket,  throws  a 
sheet  over  him  and  conceals  himself  under  the  table. 
Grandmother  enters  with  pan  of  potatoes,  which  she 
places  at  left  end  of  table,  and  sits  on  a  chair 
close  to  the  pan.  She  is  followed  by  the  girls,  and 


THE  CARNIVAL  OF  AUTHORS.  27 

all  resume  their  work.  When  Grandmother  has 
pared  one  potato  she  reaches  for  a  second,  but 
Robin  has  turned  the  table,  so  the  pan  is  at  the 
extreme  end.  She  is  much  surprised,  but  replaces 
it  a%id  goes  on  with  her  work,  when  the  table  is 
again  turned.  She  goes  again  for  the  pan,  and  the 
table  dances  across  the  room,  upsetting  the  basket. 
Volatile  rolls  out,  overturning  the  table  and  disclos- 
ing Robin.  A  ciy  is  heard  from  the  cradle,  from 
which  Cupid  rises  and  aims  at  Grandmother,  who 
leads  Jenny  forward  and  places  her  hand  in  Robin's. 
All  shake  hands  with  Jenny  and  resume  their  work. 
Yankee-doodle  is  played  on  the  piano,  at  first  slowly, 
and  rapidly  increasing  the  time.  All  work  in  time 
to  the  music.  Volatile  falls  over  into  the  cradle, 
which  the  Grandmother  rocks  rapidly  from  force  of 
habit.  Cupid  leaps  upon  the  table,  which  Robin 
has  picked  up,  and  points  his  arrows  at  each  one  in 
turn  as 

CURTAIN  FALLS. 


DICKENS  BOOTH 


TABLEAU  I. — Brimstone  and  Treacle. — Dotheboy'f 
Hall. 

Mrs  Squeers  stands  in  centre  behind  an  old  table 
on  which  is  a  large  yellow  bowl  of  steaming  fluid, 
made,  of  mollasses  and  warm  water,  six  very  ragged 
boys  are  huddled  in  corner  at  the  left,  they  timidly 
approach  and  each  swallows  with  great  difficulty  a 
spoonful,  and  walks  away  with  horrid  grimaces,  Mrs 
Squeers  occasionally  taps  some  small  boy  very  hard 
on  the  head  with  the  spoon,  and  old  Squeers  who 
has  been  at  the  background  advances  and  seizes 
Smike  by  the  ear  and  drags  him  up  to  receive  his 
dose.  The  boys  are  in  out-grown  ill-fitting  garments 


28        THE  CARNIVAL  OF  AUTHORS. 

covered  with  rags.  Mrs  Squeers  wears  chintz  short 
gown  over  black  petticoat,  and  a  very  large  cape 
bunnet. 

TABLEAU   II. — Jenny  Wren  and  her  Bad  Boy — 
from  '  Mutual  Friend' 

Jenny  in  plan  black  dress  and  a  cloud  of  golden 
hair  over  her  shoulders,  sits  at  table  covered  with 
dolls.  Her  miserable  old  father  leans  his  head  on 
his  arm  which  leans  on  the  left  side  of  the  table 
looking  reproachfully  at  Jenny  who  holds  up  her 
finger  as  if  in  severe  reproof 

TABLEAU  III. — Recalled  to  Life— from  '  Tale  of 

T^vo  Cities.' 

A  very  old  man  in  white  linen  suit  and  very  aged 
wig  and  bea:d,  sits  upon  a  cobbler's  bench,  at  the 
centre  of  stage ;  his  lovely  young  daughter  kneels 
before  him  and  he  seems  slowly  recalling  her  to  his 
memory. 

TABLEAU  IV. — Sam  Wetter  and  Mary. 

The  pretty  housemaid,  in  a  chintz  tuck-up  dress, 
is  pealing  potatoes,  seated  near  the  centre.  Sam 
Weller  leans  over  her  chair  in  a  tender  attitude  ,  he 
wears  corduroy  small-clothes,  long  bright  waistcoat, 
and  holds  a  white  hat  with  broad  red  band  in  his 
left  hand. 

TABLEAU  V. — The  Tupman  declares  his  passion  for 
Miss    Wardle. 

The  spinster  aunt  in  old  fashioned  brown  silk 
dress  and  lace  kerchief  stands  by  JP  rustic  seat, 
while  the  gallant  Tupman,  in  very  tight  black 
small-clothes  and  gaiters  with  long  swallow-tail 
blue  coat  and  buff  waistcoat,  kneels  before  her; 
both  wholly  unconscious  that  the  Fat  Boy  is  a 
quiet  witness  of  the  interesting  scene, 


THE  CARNIVAL  OF  AUTHORS.  2$ 

TABLEAU  VI. — Dick  Swiveller  and  the  Marchioness. 

Swiveller  in  very  flashy  suit,  with  his  feet  on  the 
table,  is  playing  cribbage  with  the  small  servant 
who  sits  upon  the  left-hand  end  of  the  same  table. 
She  wears  an  enormous  cap  and  a  very  short  and 
ragged  dress,  with  very  old  shoes  upon  her  feet ;  one 
finger  is  in  her  mouth  and  she  seems  intent  upon 
the  game.  An  empty  beer  pot  stands  between 
them,  and  the  chairs  and  furniture  are  of  the 
poorest  kind. 

DICKENS    BOO TH 

SECOND   iJIGHT. 


TABLEAU  I. — Betsey  Prig  and  Sairah  Gamp. 

'  Betsey,'  said  Mrs  Camp,  filling  her  own  glass,  and  passing 
the  bottle,  '  I  will  now  proppge  a  toast — "  My  frequent  partner, 
Betsey  Prig."' 

'  Which,  altering  the  name  to  Sairah  Gamp,  I  will  drink,' 
said  Mrs  Prig,  with  love  and  tenderness. 

Mrs  Gamp  resumed — '  Mra  Harris,  Betsey — ' 

'  Bother  Mrs  Harris,'  said  Betsey  Prig,  '  I  don't  believe 
there's  no  such  person.' 

Two  large  men  dressed  as  horrible  old  women; 
one  with  a  huge  bonnet,  and  the  other  with  an 
enormous  cap,  sit  at  a  table  drinking  from  a  tea-pot, 
a  huge  salade  is  on  a  yellow  dish  between  them — at 
the  end  they  rise  in  anger. 

TABLEAU  II. — Little  Nell  and  her  Grandfather. 

The  old  man  an<_  tht  child  passed  on  through  the  glad 
silence,  elate  with  hope  and  pleasure.  They  were  alone  to- 
gether once  again. 

A  lovely  child  is  leading  .  very  old  man,  who 
leans  his  right  hand  on  a  cane  and  his  left  upon  her 


30        THE  CARNIVAL  OF  AUTHORS. 

shoulder  He  wears  a  very  old  black  coat  and 
small-clothes  with  gaiters,  and  white  hat.  Shs  has 
patches  on  her  plain  dress  and  >ne  bright  hand- 
kerchief over  her  shoulders  and  another  over  her 
head. 

TABLEAU   III. — Mrs    Nickleby  Courted    over    the 
Fence. 

'  How  dare  you  look  into  this  garden  ? ' 

*  Queen  of  my  soul,'  replied  the  stranger,  folding  his  hands 
together,  '  this  goblet  sip.' 

'  Nonsense,  sir,'  said  Mrs  Nickleby.  '  Kate,  my  love,  pray 
be  quiet' 

'  Won't  you  sip  the  goblet,'  urged  the  stranger,  with  his  head 
imploringly  on  one  side,  and  his  right  hand  on  his  breast — 
*  Oh,  do  sip  the  goblet.' 

A  very  red  faced  old  man  is  looking  over  a  high 
brick  wall  at  Mrs  N.  who  has  assumed  an  attitude 
of  mock  terror,  at  her  feet  lie  a  variety  of  vegetables 
which  her  aged  adorer  has  thrown  over  in  tribute 
to  her  charms.  She  has  an  old  fashioned  bonnet 
and  black  dress  of  antique  style,  and  wears  short 
curls. 

TABLEAU  IV — Betrothal  oj  little  Em'ly. 

1  But  this  tarpaulin  chap,  he  takes  hold  of  her  hand,  and 
he  cries  out  to  me,  joyful,  "  Look  here.  This  is  to  fee  my  little 
wife."  And  she  says,  half  bold  and  half  shy,  and  half  laughing 
and  half  crying,  "  Yes,  uncle  ;  if  you  please."  If  1  please  ! 
Lord,  as  if  I  should  do  anything  else  ! ' 

Old  Peggotty  in  rough  sailor  dress,  stands  regard- 
ing Ham  who  in  &  similiar  suit,  stands  gazing  in 
adoration  upon  the  gentle  and  lovely  Emily  who 
looks  down.  She  wears  a  plain  woollen  suit  and  has 
fair  hair  falling  about  her  face. 

TABLEAU  V. — Mr  Pickwick  and  Mrs  Bardell. 

Mrs  Burdell  misunderstands  Mr  Pickwick's  proposition. 
The  consequences. 

Mrs  Bardell,  in  a  shabby  suit  of  widow's  weeds', 
has  fainted  in  Mr  Pickwick's  arms,  who  is  struck 


THE  CARNIVA:  OF  AUTHORS.  31 

with   horror.     His    costume   is  too  well  kn^wn  to 
need  description  here. 

TABLEAU  VI. — The  Yellow  Curl  Papers. 

'  Mr  Pickwick  almost  fainted  with  horror  and  dismay. 
Standing  before  the  dressing  glass  was  a  middle-aged  lady  in 
yellow  curl  paper*,  busily  engaged  in  brushing  what  ladies  call 
their  "  back  hair." ' 

Mr  Pickwick's  head  appears  between  the  curtains 
of  the  bed  in  great  bewilderment  at  being  the  inno- 
cent witness  of  the  maiden-lady's  toilet.  She  wears 
a  white  skirt  and  a  dressing  sack,  and  is  engaged  in 
brushing  her  hair. 

ARABIAN  NIGH7S  BOOTH  No.  2 


TABLEAU  I. — Scheherazade  taking  leave  of  her 
Father  and  Sister. 

Two  lovely  orientals  are  embracing  in  the  centre, 
while  the  old  father,  sitting  on  a  dais  at  the  back- 
ground, is  regarding  them  with  intense  interest. 

TABLEAU  II. — Scheherazade  relating  her  Wonderful 
Stories  to  the  Sultan. 

The  Sultan  reclines  on  a  gorgeous  couch,  while 
the  two  sisters  sit  on  a  cushion  at  his  feet,  all  deeply 
interested  in  the  stoiy  one  of  them  is  telling. 

TABLEAU  III. — The  Mag 'dan  first  sees  Aladdin. 

Four  boys  in  white  oriental  robes  are  playing 
marbles,  a  tall  stranger  with  flowing  beard  and  long 
robe,  wrought  with  curious  designs  has  put  a  stop 
to  their  play. 


3'2        THE  CARNIVAL  OF  AUTHORS. 

TABLEAU  IV. — Ihe  Surprise  of  Aladdin's  Mother 
at  seeing  him  in  such  Fine  Clothes. 

Aladdin  in  gorgeous  attire  stands  in  the  centre, 
while  the  mother  holds  up  her  hand  in  wonder,  and 
the  sister  kneels  as  if  examining  the  texture  of  his 
robe. 

TABLEAU  V. — Aladdin  sees  the  Princess  Badroul- 
badour  going  to  the  Bath, 

Aladdin  stands  at  back  of  the  stage  while  the 
princess  is  escorted  by  her  maidens  on  her  way. 

TABLEAU  VI. — The  Princess  gives  the  old  Lamp  to 
be  exchanged  for  a  new  one. 

The  princess  stands  on  a  flight  of  steps,  holding 
the  old  lamp  in  her  left  hand,  while  she  reaches 
with  her  right,  for  the  new  lamp  to  the  man  who 
kneels  at  her  feet. 

ARABIAN  NIGHTS  BOOTH  No.  2 

SECOND  NIGHT. 


TABLEAU  I. — Scene  from  the  '  Forty  Thieves* 

Ali  Baba  entering  the  robbers'  cave.  He  stands 
with  uplifted  hands  gazing  on  the  jewels  and 
treasure  chests,  which  are  opened  and  full  of  scrap 
tin  mingled  with  pieces  of  foil  of  brilliant  colours. 

TABLEAU  IT. — Morgiana  slaying  the  Chief  of  the 
Robbers. 

Ali  Baba  reclines  on  cushions  at  the  back  of  the 
stage.  The  robber  stands  at  the  left  in  admiration 
of  the  dance  of  Morgiana, at  the  conclusion  of  which 


THE  CARNIVAL  OF  AUTHORS.        33 

she  strikes  him  with  a  dagger  and  he  falls  at  iier 
feet,  to  the  horror  of  Ali. 

TABLEAU  III. — Zobeide  discovers  the  Young  Prince 
*    Heading  the  Koran. 

A  young  oriental  maiden  who  has  been  wander- 
ing through  a  deserted  palace,  stands  with  an 
antique  lamp  in  her  left  hand,  mute  with  amaze- 
ment at  discovering  a  youth  seated  on  a  mat  at 
right  front  of  stage,  reading  from  a  large  book  ;  she 
soon  kneels  and  joins  in  his  prayer. 

TABLEAU    IV. — The   purchase    of  the    Beautiful 
Persian. 

Zenebi,  the  Kin<,'  of  Syria,  orders  his  vizier  Khacan  to  pur- 
chase for  him  a  slave,  who,  perfect  in  beauty  and  all  exterior 
charms,  should  above  everything  possess  a  well-cultivated  mind. 

The  king  is  seated  at  the  left  of  centre  on  a  high 
throne,  draped  with  costly  fabrics,  at  the  rightstands 
the  vizier,  lifting  the  veil  from  a  lovely  maiden  who 
stands  in  a  humble  attitude  looking  modestly  down. 

TABLEAU  V. — Ganem  presenting  to  Fetnab   Two 
Female  Slaves. 

Fetnab  stands  at  the  left,  and  seems  rejoiced  at 
the  present  which  Ganem  seems  to  be  presenting, 
with  a  full  sense  of  its  value,  he  points  with  his 
left  hand  to  the  oriental  ladies  whose  hands  are 
bound  together  with  a  silver  chain. 

TABLEAU    VI. —  Ganem   restored    to   His  Mothtr 
and  Sister. 

The  mother  stands  in  the  centre  embracing  her 
long-lost  son,  his  sister  stands  at  the  right  with  her 
left  hand  on  his  shoulder. 

As  all  the  costumes  in  this  booth,  are  similar  in 
style,  although  varying  in  colour,  they  may  be  as 
well  described  at  once.  The  ladies  have  short  skirts 


34        THE  CARNIVAL  OF  AUTHORS. 

over  full  trousers,  slippers  highly  ornamented,  cut 
away  jackets  very  highly  embroidered  in  gilt  and 
silver  braid,  jewelled  vests  and  turbans.  The  men 
wear  long  flowing  robes  of  white  or  colours,  ful*. 
trousers  and  turbans. 


TENNYSON  BOOTH  No.  3 


TABLEAU  I. — Maud. 

Maud  in  modern  English  dress  stands  at  a  gate, 
on  the  right  of  which  outside  of  the  fence  her  lover 
stands  in  admiration  looking  up  into  her  face.  Her 
brother  is  approaching  with  hand  uplifted,  ready  to 
strike  the  lover  who  is  unconscious  of  his  presence, 
all  are  dressed  in  modern  costume. 

TABLEAU  II. — Dream  of  Fair  Women. 

Dreamer  and  '  Cleopatra '  discovered  in  a  wood.  '  Helen  o\ 
Troy  '  appears,  '  divinely  tall  and  most  divinely  fair.'  Then 
conies  '  Iphigena'  viewing  Helen  with  angry  looks.  '  Cleopa- 
tra,' seated  on  a  crimson  dais,  recites  the  story  of  her  life  and 
calls  for  'Mark  Anthony.'-  'Jephthah's  daughter'  i*  heard 
singing,  and  comes  dancing,  timbrel  in  hand  ;  she  sings  a  song 
of  Israel.  '  Fair  Rosamond  '  and  '  Angered  Eleanor'  are  next 
seen  gazing  at  each  other  with  fear  and  hatred.  '  Joan  of  Arc,' 
clad  in  armour,  and  '  Margaret  Roper '  at  last  appear.  The 
scene  closes  with  a  GRAND  TABLEAU. 

A  youth  is  asleep  on  a  green  bank  before  a  cur- 
tain, painted  to  represent  a  wood,  which  rolls  up 
discovering  Cleopatra  seated  on  her  throne  attended 
by  her  slaves  Helen  enters  from  right  with  a  robe 
of  cream  white,  ornamented  with  Walls  of  Troy 
pattern  in  gilt.  At  the  same  time  Iphigena  enters 
left,  draped  in  a  long  robe  of  black  cashmere,  hold- 
ing an  antique  lamp.  Jephthah's  daughter  is  heard 
without,  singing  '  strike  the  glad  timbrel,'  she  comes 
forward  and  finishes  the  song,  she  is  dressed  in 


THE  CARNIVAL  OF  AUTHORS.        35 

oriental  costume  as  described  above.  Rosamond 
enters  left,  in  a  rich  costume  of  fleecy  silk  and  con- 
fronts Eleanor  who  enters  right,  dressed  in  queenly 
robes  of  velvet  and  ermine  with  crown  and  seep'  re. 
Joan  of  Arc  wears  a  suit  of  armour  with  red  skirt 
underneath,  a  helmet  on  her  head,  and  a  white  flag 
with  lillies  in  her  left  hand.  Margaret  Roper  follows 
her  dressed  in  black,  with  flowing  hair,  they  stand 
in  a  semi-circle  around  the  dreamer  who  awakes  in 
astonishment. 

TABLEAU  III. — Elaine. 

A  tall  and  graceful  blonde,  with  a  rich  mediaeval 
costume  of  brocade  silk,  is  busily  engaged  in  bur- 
nishing the  shield  of  Launcelot,  which  he  has  left  in 
her  care.  She  examines  carefully  every  dent  and 
bruise,  and  seems  to  be  exulting  in  the  prowess  of 
the  knight  she  has  learned  to  love  so  dearly. 

TABLEAU  IV. — The  Finding  of  Elaine, 

In  the  centre  of  the  stage  Elaine  lies  upon  her 
bier,  which  has  been  lifted  by  four  squires.  Sir 
Launcelot,  in  a  suit  of  chain  armour,  stands  at  the 
foot,  and  King  Arthur,  with  long  robe  and  crown,  at 
the  head.  Queen  Guenevere  in  royal  robes  and 
crown,  sits  upon  a  throne  in  the  back-ground,  in- 
tently watching  the  face  of  Launcelot  while  the 
letter  is  being  read  aloud  by  another  knight  in 
armour,  who  .stands  at  the  right  of  the  stage.  Two 
maids  of  honour  bend  over  Elaine,  one  of  whom  is 
crying ;  they  wear  long  robes  of  unbleached  muslin, 
belted  at  the  waist  with  a  golden  girdle. 

TABLEAU  V. — Lady  Clara  Vere  de  Fere. 

A  proud  and  haughty  lady,  in  a  fashionable  and 
rich  walking  suit,  is  sitting  on  a  rustic  bench  at 
centre,  seemingly  listening  with  an  amused  smile  to 
the  invectives  of  a  country  bumpkin  in  a  rough  suit, 
who  seems  to  be  reading  her  a  stern  reproof. 


36  THE  CAENIVAL  OF  AUTHORS. 

TABLEAU  VI. — Dora. 

An  old  English  farmer,  in  a  brown,  square-cut 
suit,  is  looking  unforgivingly  away  from  a  young 
woman  plainly  dressed,  who  is  offering  a  little  boy 
to  his  notice.  After  a  short  pause  he  relents  and 
embraces  the  little  one,  while  extending  his  hand  to 
the  lady  in  token  of  his  forgiveness. 

TENNYSON  BOOTH  No.  3 

SECOND  NIGHT. 

TABLEAU  I. — Anger  of  the  King. 

The  old  king  has  risen  from  the  throne  in  centre, 
and  in  great  wrath  has  torn  the  letter  to  pieces,  and 
is  in  the  act  of  tearing  the  long  lace  shawl  which  he 
holds  in  his  hands.  The  foreign  ambassadors  stand 
at  left,  and  his  courtiers  at  the  right,  looking  on  in 
wonder.  He  wears  a  purple  velvet  robe  and  crown, 
and  the  others  are  clad  in  armour. 

TABLEAU  II. — Princess,  Lady  Blanche  *and  Lady 
Psyche  in  the  University  for  Maidens. 

Three  ladies  are  grouped  around  a  table  laden 
with  books,  maps,  and  papers.  Two  are  seated,  one 
at  the  left  of  table  is  reading  a  book.  The  Princess 
stands  behind  the  table  in  the  act  of  declaiming. 
All  wear  long  rich  robes  of  simple  make,  hanging  in 
folds  from  the  shoulders.  Their  hair  is  arranged  in 
a  simple  Grecian  knot. 

TABLEAU  III. — Reception  of  Pupils  by 
the  Princess. 

The  Princess  has  risen  and  is  extending  her  hand  in 
welcome  to  the  three  gentlemen,  who  are  disguised  in 


THE  CARNIVAL  OF  AUTHORS.  37 

long  purple  robes,  trimmed  with  a  gilt  band  around 
the  waist,  and  furnished  with  a  hood  which  partially 
conceals  their  features.  They  seem  much  amused, 
and  one  is  laughing  behind  his  fan  while  a  lady  at 
the  left  is  reading  the  laws  of  the  female  university. 

TABLEAU  IV. — Lady  Pysche's  Instruction  to 
her  Pupils. 

The  same  gentlemen  are  seated  on  benches,  with 
six  youni;  ladies  robed  in  the  same  kind  of  purple 
robes,  while  the  teacher  stands  on  a  high  platform 
reading  a  lecture  with  animated  gesture. 

TABLEAU  V. — Lady  Psyche  recognising  her  brother 
Flavian. 

The  school  is  hastily  dismissed,  the  three  gentle- 
men alone  remaining,  and  the  former  lecturer  is 
angrity  addressing  one  of  them  whose  hood  has 
fallen  off,  disclosing  his  face  upon  which  expressions 
of  fear  and  mirth  sooin  striving  for  the  mastery. 

TABLEAU    VI. — 2  he   Ambassadors   brought   before 
the  Princess. 

The  three  gentlemen  are  kneeling  before  the 
princess,  who  is  at  her  toilet  with  two  maids,  engaged 
in  combing  out  her  long  black  hair.  She  seems 
highly  indignant  at  the  imposture  which  has  beeft 
practised  upon  her,  and  they  are  in  humble  .attitudes 
trying  to  appease  her  just  anger. 

SCOTT  BOOTH  No.  4 


TABLEAU  I. — Kenilworth. 

The  Earl  of  Leicester  having  handed  the  Queen  up  to  her 
throne,  and  seated  her  there,  knelt  before  her,  kissing  the  hand 
which  she  held  out. 

Queen  Elizabeth  in  magnificent  robes,  and  high 


38        THE  CARNIVAL  OF  AUTHORS. 

ruff  and  crown,  sits  in  centre  on  a  high  throne  chair 
which  stands  upon  four  white  steps.  The  Earl  of 
Leicester  in  very  rich  shaped  dress  with  cape  and 
ruff,  kneels  on  the  right  side  upon  the  second  step, 
and  is  kissing  her  right  hand  which  she  graciously 
extends  towards  him. 

TABLEAU  II— Quarrel  Scene. 

QUEEN  to  TRESSILIAN — '  You  knew  of  this  fair  work — you 
are  an  accomplice  in  this  deception  which  ha<  been  practised 
upon  us.' 

LEICESTER — '  Madam,  do  with  me  what  it  may  be  your  will 
to  do  ;  but  work  no  injury  in  this  gentleman  —  he  hath  in  no 
way  deserved  it.  ' 

Same  scene  as  before,  except  that  Tressilian  stands 
at  the  left,  dressed  in  a  black  velvet  shaped  dress 
richly  trimmed  with  jet,  his  head  is  bowed,  Leicester 
stands  at  right  as  if  defending  him.  The  queen  is 
standing  on  the  upper  step  of  her  throne,  as  if  she 
had  hastily  risen  in  anger.  Guards  with  halberds, 
helmets  and  breast-plates  over  red  costume,  stand 
in  a  row  at  back  of  stage.  In  each  of  these  scenes 
the  walls  are  ornamented  with  deer  horns,  and 
pieces  of  ancient  armour,  and  the  furniture  is  very 
rich  and  antique. 

TABLEAU  III. — Jewel  Scene. 

'  How  now,  fair  Nymph — art  thou  spell-bound  and  struck 
with  dumbness  by  the  wicked  enchanter  whom  men  term 
Fear  ? '  She  drops  the  casket  from  her  hand. 

A  beautiful  maiden  in  white  robe  with  golden 
hair  falling  over  her  shoulders,  stands  in  centre.  A 
handsome  casket  is  held  carelessly  in  her  right  hand, 
and  golden  chains  and  jewels  are  falling  from  it  to 
the  floor. 

TABLEAU  IV. — Lady  of  the  Lake. 

1  His  chain  of  gold  the  King  unstrung, 
The  links  o'er  Malcolm's  neck  he  flung, 
Then  gently  drew  the  glittering  band, 
And  laid  the  clasp  on  Ellen's  hand.' 

King  Fitz  James  is  dressed  in  a  hunting  suit  of 


THE  CARNIVAL  OF    AUTHORS.  39 

Lincoln  green,  with  horn  by  his  side.  He  stands  on 
the  throne  as  if  he  had  just  returned  from  the 
chase  ;  beside  him  stands  Malcolm,  in  a  highland  suit, 
closely  guarded  by  two  Scottish  soldiers.  King 
James  lias  just  thrown  a  golden  chain  over  Malcolm's 
neck  and  is  placing  the  clasp  in  the  hand  of  Ellen,  a 
brown-eyed  maiden  in  a  white  dress  with  a  plaid, 
sash,  and  ribbons  of  plaid  around  her  hair. 

TABLEAU  V — Lord  of  tke  hies. 

1  Retired  her  maiden  train  among, 
Edith  of  Lome  received  the  song.' 

The  fair  Edith  seated  among  a  group  of  lovely 
maidens,  resting  in  careless  but  graceful  attitudes,  is 
listening  with  pleasure  to  the  ballad.  All  wear 
plaid  dresses  or  white  with  plaid  trimmings ;  the 
hair  is  curled  and  thrown  over  the  back  of  the  head 
tied  with  plaid  ribbons. 

TABLEAU  VI. — The  Trial  Scene. 

/he  Tribunal,  elected  for  the  trial  of  the  innocent  and 
unhappy  Rebecca,  occupied  the  day  ;  before  her  sat  the  Grand 
Master  of  the  Temple.  A  psalm  commenced  the  proceedings 
of  the  clay,  and  the  solemn  sounds, '  Venite  exultemus  Domino,' 
were  judged  by  Lucas  most  appropriate  to  introduce  the  ap- 
proaching triumph — for  such  he  deemed  it — over  the  powers 
of  darkness. 

A  group  of  Knight  Templars  in  armour,  with  a 
huge  red  cross  on  their  shields  and  banners,  are 
arranged  about  a  throne  upon  which  the  Grand 
Master  is  seated,  dressed  in  a  long  blac  robe,  also 
decorated  with  a  red  cross.  Before  1  im  sta  ids  the 
Jewess  in  oriental  costume,  with  disnc Celled  hair, 
closely  guarded  by  two  squires  in  armour.  The 
knights  ail  kneel  and  cross  themselves  as  the  notes 
cf  a  solemn  psalm  are  heard,  from  a  chorus  con- , 
cealed  behind  the  scenes.  Banners,  lances,  and 
shields  are  arranged  about  the  walls  of  the  room. 


40        THE  CARNIVAL  OF  AUTH3RS. 

SCOTT  BOOTH   No.   4 

SECOND  NIGHT. 


TABLEAU  I. — Kenilworth,  Leicester,  and 
Amy  Robsart. 

The  fair  Amy,  in  a  white  satin  dress  and  train' 
trimmed  with  pearls,  stands  before  her  husband, 
looking  eagerly  up  into  his  face,  while  her  right 
hand  is  playing  with  his  jewelled  collar.  Queen 
Elizabeth  appears  in  the  back-ground  regarding  the 
scene  with  jealous  anger. 

TABLEAU  II. — Ivanhoe  gains  the  crown  at  the  tour- 
nament from  the  hands  of  the  fair  Rowena. 

Rowena  sits  in  a  bower,  she  is  dressed  in  white 
silk,  richly  ornamented  with  jewels  and  flowers. 
Ivanhoe  kneels  before  her  to  receive  the  chaplet, 
and  she  is  astonished  to  discover  her  faithful  knight, 
as  the  victor  removes  his  helmet. 

TABLEAU  III. — Rowena  to  Rebecca. 

'  What  means  this,  lady  ? '  said  the  surprised  bride  ;  '  why 
do  you  offer  me  a  deference  so  unusual  ? ' 

The  fair  Saxon  rises,  and  lifts  her  bridal  veil  at 
the  request  of  the  kneeling  Jewess,  who  offers  her  a 
casket  of  precious  jewels.  She  wears  the  bridal 
robes  of  white  silk,  and  Rebecca  the  oriental  cos- 
tume described  above. 

TABLEAU  IV. — Meg  Merrilees  in  the  Robbers'  Cave, 

A  tall,  gaunt,  gipsey  woman  el  '~\  the  centre, 
leaning  OP  a  tall  staff,  pointin  with  h  right  hand 
at  Hattcrick,  the  chief  of  th.  gang,  ho  wears  a 
rough  sailor  suit,  with  knives  .  iiu  pistols  in  his 
broad  belt  with  its  great  clasp.  He  is  aiming  at 


THE  CARNIVAL  OF    iUTHORS.  41 

her  with  a  pistol.     Groups  of  sailors  are  around  the 
room  which  is  filled  with  barrels  and  wooden  boxes. 

TABLEAU  V. — Marmion. 

*  Before  them  stood  a  guilty  pair  ; 
As  though  an  equal  fate  they  share.* 

The  monks  are  in  solemn  conclave,  and  the  Prior 
has  just  pronounced  upon  Constance  the  fearful 
doom  of  being  walled  up  alive  in  a  living  tomb  ,  two 
monks  have  seized  her,  a  third  holds  a  small  loaf 
and  a  jug  of  water,  and  a  fourth  some  mortar  and 
mason's  tools.  She  is  dressed  in  the  costume  of  a 
page,  and  her  long  blonde  hair  reveals  her  identity, 
and  the  velvet  cap  which  had  concealed  it  lies  at 
her  feet.  Six  or  eight  monks  can  be  introduced 
to  advantage  in  the  background,  behind  the  Prior's 
chair. 

TABLEAU  VI. — Lady  of  the  Lake. 

'  Wake,  Allen-bane  ! '  aloud  she  cried, 

To  the  old  minstrel  by  her  side — 
*  Arouse  thee  from  thy  moody  dream  I 

I'll  give  thy  harp  heroic  theme, 

And  warm  thee  with  a  noble  name  ; 

Pour  forth  the  glory  of  the  Graeme.' 

An  ancient  harper  with  long  brown  robe  and 
flowing  white  hair  and  beard,  is  kneeling  beside  a 
harp,  and  looking  up  as  if  chanting  the  ancient 
glories  of  his  native  land. 

By  his  side  is  a  lovely  maiden  gazing  earnestly  at 
him,  and  holding  up  her  hand  as  if  urging  him  to 
still  greater  effort,  by  recounting  the  glorious  deeds 
of  their  great  ancestors,  who  had  given  their  names 
to  the  rough  hills  and  placid  lakes  around  them. 
A  group  of  lads  and  lassies  stand  and  recline  in 
graceful  attitudes  in  the  background,  and  seem 
attentive  and  interested  listeners  to  the  music.  The 
Highland  dress  is  a  kilt,  scarf,  and  hose  of  plaid, 
over  a  black  waist  with  a  bonnet  of  black  with  a 
plaid  border  and  eagle  plume. 


42  THE  CARNIVAL  OF  AUTHORS. 

LONGFELLOW  BOOTH  No.  5 


TABLEAU  I — The  Village  Blacksmith—  Lot  gfettow. 

A  village  choir  of  Yankee  maidens  in  the  centre 
with  neat  calico  dresses,  and  ol<l- fashioned  bonnet, 
on  each  side  are  men  in  their  shirt  sleeves  playing 
on  bass  voils  and  violins,  all  have  music  books  before 
them,  or  in  their  hands. 

TABLEAU  II. — MILES  STANDISH— Love  and  Friend- 
ship. 

John  Alden  sits  at  table,  covered  with  b  >oks  and 
papers,  he  is  dressed  in  a  black  velvet  shape,  and  is 
looking  towards  Miles  Standish,  who  dressed  in  a 
buff  coat  with  helmet  and  breastplate,  stands  urging 
him  to  go  upon  his  errand  which  he  seems  unwill- 
ing to  do. 

TABLEAU  III. — John  Alden  and  Priscilla. 

The  Puritan  maiden  in  gray  plain  dress,  white 
kerchief  apron  and  cap,  sits  at  a  flax  wheel  spining  ; 
a  well-worn  hymn-book  rests  in  her  lap,  and  she 
seems  unconscious  of  Alden  who  is  just  entering  the 
door  with  a  bunch  of  mayflowers  in  his  hand.  Ho 
stops  a  moment  to  look  upon  the  pretty  scene,  for- 
getting for  the  time  his  unwelcome  errand. 

TABLEAU  IV. — '  Why  don't  you  speak  for 
yourself,  John  ? ' 

He  is  seated  looking  bashfully  down,  having  ex- 
hausted the  praise  of  his  rival,  when  the  maiden, 
looking  archly  at  him  with  eyes  full  of  mirth,  is 
supposed  to  be  coyly  saying  the  above  words. 


THE  CARNIVAL  OF  At  THORS.  43 

TABLEAU  V. —  Winding  the  Tarn. 

The  same  persons  as  in  the  last  two  scenes  are  in 
the  same  room ;  John  Alden  sits  with  his  arms  ex- 
tended, holding  a  skien  of  yarn;  Priscilla  stands 
gracefully  before  him  winding  the  yarn,  occasionally 
touching  his  hands  au.i  carrying  on  an  innocent 
flirtation,  while  he  looks  up  adoringly  into  her  face, 
as  if  lost  in  admiration. 

TABLEAU  VI. 

A  group  ot  plainly- dressed  Puritans  with  high- 
pointed  hats  are  celebrating  the  wedding  of  John 
and  Priscilla,  who  stand  before  the  Elder,  who 
wears  a  long  black  gown  and  white  muslin  bands. 
The  ceremony  is  just  over  when  Miles  Standish, 
who  has  long  been  supposed  to  have  been  s^ain  by 
the  Indians,  returns  and  causes  great  astonishment 
and  consternation.  He  is  at  first  angry,  but  finally 
relents  and  best  ,\vs  his  blessing  on  the  young  bridal 
couple,  who  receive  him  with  great  joy. 


LONGFELLOW  BOOTH  No.  5 

SECOND  NIGHT. 


TABLEAU  I.— HIAWATHA. — The  Wedding  Feast  of 
Hiawatha  and  Minnehaha. 

A  group  of  savages  are  seated  on  the  ground  in  a 
circle  around  Hiawatha  the  brave,  and  Minnehaha 
his  lovely  bride.  They  seem  eager  to  wait  on  and 
to  amuse  their  guests,  some  of  whom  are  eating  from 
great  wooden  bowls,  and  some  are  smoking  long 
pipes,  one  is  standing  at  tr-e  left  as  if  telling  a  story, 
End  one  at  the  right  is  chanting  a  song  of  hia 
exploits,  and  all  seem  full,  of  joy  and  mirth. 


44  THE  CAliNlVAL  OF  AUTHOKS. 

TABLEAU  II. — EVANGELINE — The  Prco-efal  Village. 

The  stage  is  crowded  with  Arcadian  peasants  in 
bright  skirts,  kirtles,  white  aprons  and  high  Norman 
caps,  which  is  the  costume  of  the  women.  The  men 
wear  short  clothes  of  red,  r.lue,  or  black,  with  broad 
suspenders  of  bright  colour  over  white  shirts,  which 
are  trimmed  with  gay  ribbons,  as  also  are  their 
broad  straw  hats.  The  parish  priest  is  coming 
down  the  centre  giving  his  hand  to  the  childix-n 
upon  whom  he  bestows  his  blessing.  In  the  corners 
old  women  are  seen  sitting  at  spinning  wheels,  or 
holding  great  distafs  of  snowy  flax  in  their  hands. 

TABLEAU  III. — Evangeline. 

In  the  foreground  two  old  men  are  sitting  at  a 
table  playing  at  draughts, at  the  left  corner  Evange- 
line sits  in  the  background  with  her  lover  in  earnest 
conversation,  in  a  gleam  of  moonlight  which  is 
thrown  upon  them  from  a  calcium  light. 

TABLEAU  IV. 

The  same  peasants  as  in  Tableau  Second,  are  in 
dejected  attitudes  among  the  wreck  of  their  house- 
hold goods,  which  are  piled  around  in  confusion, 
Evangeline  in  the  centre,  strives  in  vain  to  comfort 
her  old  father.  A  red  calcium  light  representing 
the  burning  village,  adds  much  to  the  effect  of  this 
scene. 

TABLEAU  V. — Evangeline' s  Voyage. 

She  is .  seated  in  the  centre  of  a  large  boat  made 
in  profile,  as  described  in  the  account  of  the  main 
stage.  She  wears  the  peasant  dress  without  the 
cap,  and  has  a  long  cloak  over  her  shoulders.  The 
priest  is  bending  over  her  trying  to  comfort  her. 
Two  peasant  women  are  in  the  stern  of  the  boat, 
one  of  whom  has  a  child  asleep  on  her  lap.  Two 
boatmen  are  in  the  forward  part,  near  the  centre, 
with  oars  in  their  hands. 


THE  CARNIVAL  OP  AUTHORS.  45 

TABLEAU  VI. — Evangeline. 

Thus  many  years  she  lived  as  a  Sister  of  Mercy 

frequenting 

Lonely  and  wretched  roofs  in  the  crowded  lanes  of  the  city, 
Where  distress  and  want  concealed  themselves  from  the  eun- 

li.ht, 
Where  disease  and  sorrow  in  garrets  languished  neglected. 

In  the  dress  of  a  Sister  of  Charity  Evangeline  at 
last  discovers  her  lover  dying  in  the  hospital,  and 
has  the  sad  satisfaction  of  closing  his  eyes,  and 
kneels  by  his  low  pallet  in  earnest  prayer  for  his 
everlasting  peace. 


SHAKSPEARE  BOOTH  No,  6 


TABLEAU  I.  —  'Mucn  ADO  ABOUT  NOTHING.'  —  Act 
2d.     Scene  1st. 


D.  PEDRO.  —  My  visor  is  Philemon's  roof  ;  within  the  house 
Is  Jove. 

HERO.  —  Why  then,  your  visor  should  be  thatched. 
D.  PEDRO.  —  Speak  low,  if  you  speak  love.  * 

A  beautiful  blonde,  in  white  silk,  with  bare  arms, 
is  listening  with  scorn  to  the  protestation  of  Pedro, 
in  a  rich  suit  of  armour. 


TABLEAU  II.  —  Act  3d    Soene  1st. 

HERO.  —  .    .    .    My  talk  to  thee  must  be,  how  Benedick 
Is  sick  in  love  witli  Beatrice  ;    of  this  matter 
Is  liitle  Cupid's  crafty  arrows  made. 
That  tiily  w-uuds  by  hearsay.     Now  begin. 

(Enter  Beatrice  behind.) 

Hero  in  the  foreground  is  overheard  by  Beatrice, 
who  is  listening  with  an  amused  smile  in  the  rear  of 
stage.  She  is  dressed  in  rich  brocade,  with  slashed 
sleeves. 


46  THE  CARNIVAL  OF  AUTHORS. 

TABLEAU  III. — Act  TV.    Sc»ne  1. 

CLAUDIO. — What  man  was  he  talked  with  you  yesternight, 
Out  at  your  window,  betwixt  twelve  and  one  I 
Now  if  yon  are  a  maid,  answer  to  this. 

HERO. —  I  talked  with  no  man  at  that  hour,  my  lord. 

D.  PEDRO. — Why  then,  you  are  no  maiden,  Leonato, 
I  am  sorry  you  must  hear  ;   upon  mine  honour, 
Myself,  my 'brother,  ami  this  grieved  count, 
Did  see  her.  hear  her,  at  that  hour  last  night 
Talk  with  a  ruffian  at  her  chamber  window. 

Hero  in  centre  is  angrily  disclaiming  the  accusa- 
tions of  Don  Pedro  to  Claudio,  who  wears  a  shaoo 
dress  of  velvet  trimmed  with  gold  fringe,  and  a  hat 
with  long  white  plume. 

TABLEAU  IV.— Act  IV.      Scene  1. 

BEATRICE. — I  love  you  so  much  with  my  heart,  that  no**  ^ 

left  to  protest. . 

BENEDICK. — Come,  bid  me  do  anything  for  thee. 
BEATRICE. — Kill  Clamlio. 
BENEDICK. — Ha,  not  for  the  wide  world. 
BEATRICE. — You  kill  me  to  deny  it.     Farewell. 
BENEDICK. — Tarry,  sweet  Beatrice. 

Beatrice  seated  centre,  Benedick  leans  over  hei 
chair  at  right.  He  wears  a  shape  suit  of  maroon 
velvet,  with  white  satin  slashes  and  trimmings. 

TABLEAU  V. — MERCHANT  OF  VENICE — Act  V. 
Scene  1. 

LOHENZO. — 'In  such  a  night  did  Jessica  steal  from  the 
wealthy  Jew,  and  with  an  uu thrift  love,  did  run  from  Venice, 
as  far  as  Belmont.' 

Jessica  a  Jewish  maiden  in  a  costly  oriental  dress, 
carrying  a  casket  of  jewels,  is  stealing  away  with 
her  lover,  who  has  his  arm  around  her,  and  hia 
black  velvet  cloak  partly  around  her  also. 

TABLEAU  VI. — HAMLET — Act  IV.    Scene  5. 

OPHELIA. — 'There's  rosemary,  that's  for  remembrance.  Pray 
you  love,  remember.  And  there  is  pansies ;  that's  for 
thoughts.' 

Ophelia  in  a  white  dress  ornamented  carelessly 


THE  CARNIVAL  OF  AUTHORS.        47 

with  flowers,  is  strewing  the  grave  of  her  father, 
while  Hamlet  in  a  black  velvet  dress  trimmed  with 
jet,  is  watching  her  intently  in  the  distance. 

SHAKSPEARE  BOOTH  No  6 

SECOND  NIGHT. 


TABLEAU  I. — Falstaff  and  his  Friends  Dining 
at  Pages  House. 

'  Wife,  bid  these  gentlemen  welcome  : — Come,  we  have  a  hot 
venison  pasty  to  dinner  ;  come,  gentlemen,  I  hope  we  shall 
drink  down  all  unkindness.' 

Mr  and  Mrs  Page  are  seated  at  a  table  in  the 
centre,  covered  with  good  cheer.  Falstaff  and  his 
three  companions  at  left  are  accepting  gladly  the 
invitation  of  the  host  to  join  them.  The  costume  of 
the  characters  is  so  well  known  that  description  is 
unnecessary. 

TABLEAU  II. — Othello  relating  his  Adventures. 

'  Her  father  loved  me  :   oft  invited  me  ; 
Still  questioned  me  the  story  of  my  life.' 

The  Moor  is  earnestly  relating  his  warlike  exploits 
to  the  gentle  Desdemona,  who  sits  at  his  feel.,  afford- 
ing, in  her  blonde  beauty  and  gentleness,  a  marked 
contrast  to  the  heroic  Othello,  who  is  clad  in  a  mail 
shirt  over  black  tights  and  trunks ;  she  wears  a  soft 
white  dress  with  pearl  ornaments. 

TABLEAU  III. — Queen  Katharine's  interview  with 
the  Cardinals. 

CAMPEIUS. — *  Put  your  main  case  into  the  King's  protection  ; 
He's  loving  and  most  gracious  ;  'twill  be  much 
Both  tor  your  lionour  bet.ter,  and  your  cause  ; 
Fur,  it  the  trial  of  law  o'ertake  you, 
You'll  pai  t  away  disgrared.' 


48  THE  CARNIVAL  OF  AUTHORS. 

WOLSEY. — He  tells  rightly. 
QUEEN  K  — Ye  tell  me  what  ye  wish  for  both,  my  ruin  : 

Is  this  your  Christian  counsel  ?     Out  upon  ye  ! 
Heaven  is  above  all  yet  ;  there  sits  a  Judge 
Thut  no  king  can  corrupt. 

The  queen  wears  purple  robes  and  a  golden  crown 
from  which  a  white  veil  reaches  to  h  -r  feet.  The 
two  cardinals  are  dressed  in  red  trimmed  with 
ermine,  and  hats  of  same  colour.  They  look  angrily 
at  the  queen  who  is  pointing  upward  as  if  appealing 
to  heaven  for  the  justice  of  her  cause. 

TABLEAU  IV. — Antony  and  Cleopatra. 

A.NT. — '  Cold-hearted  toward  me  1 

€u&O. — '  Ah,  dear  it'  I  be  so, 

From  my  col'l  heart  let  heavm  engender  hail, 
And  poison  it  in  the  source  ;  and  the  first  stone 
Drop  in  my  neck  :  as  it  determines,  so 
Dissolve  my  life  ! ' 

They  sit  side  by  side  on  a  raised  throne,  and  she 
gazes  tenderly  upon  Antony  while  protesting  her  love. 
Her  costume  is  described  in  the  (first  scene  on  the 
main  stage),  he  wears  a  white  tunic  elegantly  em- 
broidered, and  loose  trousers  of  the  same  colour. 

TABLEAU  V. — Cordelia  and  Lear. 

COB. —    *    *        '  Was  this  a  face 

To  be  exposed  against  the  evening  winds  1 
To  stand  against  the  deep  dread  bolted  thunder? 
*    *    *         He  wakes,  speak  to  him.' 

Lear  reclines  on  a  couch,  Cordelia  is  bending  ten- 
derly above  him,  He  wears  a  purple  robe,  and  she 
is  dressed  in  blue  satin,  embroidered  with  pearls, 
and  a  long  white  train  from  the  shoulders. 

TABLEAU  VI. — Lady  Macbeth. 

She  is  dressed  in  a  long  loose  white  robe,  and  is 
carrying  a  candle ;  her  eyes  are  closed  as  if  in  sleep. 
Two  gentlemen  in  Scotch  costume,  and  one  lad}',  are 
in  the  background  carefully  watching  her  motions. 


THE  CARNIVAL  OF  AUTHORS.  49 

WHITTIER  BOOTH  No.  7 


TABLEAU  l.—Mr11  "  -'^n  or  the  Witch's 
Daughter. 

Scene.  —  Esek  Harueji  ^  uarii  at  harvest  time 
a  group  of  Yankee  men  and  maids  are  husking 
corn  by  the  light  of  a  tin  lantern,  fastened  upon  a 
pitchfork.  They  are  dressed  in  common  dress,  and 
seern  very  merry  at  their  work.  Harden  an  oldish 
man  in  a  respectable  farmer  dress,  seems  anxiously 
expecting  some  new  arrival,  while  at  the  same  time 
he  dispenses  civility  to  his  guests. 

TABLEAU  II. 

The  same  scene  as  before,  excepting  that  Mabel 
Martin  in  a  plain  black  dress  sits  in  the  right 
corner. 

So  in  the  shadow  Mabel  sits, 

Untouched  by  mirth  she  sees  and  hears,— 

Her  smile  is  sadder  than  her  tears. 

But  cruel  eyes  here  found  her  out, 

And  cruel  lips  repeat  her  name, 

And  taunt  her  with  her  mother's  shame. 

And  only  pausing  at  the  door, 
Her  sad  eyes  met  the  troubled  gaze 
01'  one  who,  in  her  better  days 

Had  been  her  warm  and  steady  friend, 
Ere  yet  her  mother's  doom  had  made 
Even  Estk.  Harden  half  afraid. 


He  felt  that  mute  appeal 

And,  starting,  with  an  an<-ry  frown, 

Hushed  all  the  wicked  murimu>  down. 

* 

Mabel  sees  that  one  of  the  maidens  in  the  left 
upper  corner  has  discovered  her  and  is  pointing  her 
out  with  a  smile  of  contempt,  so  she  slowly  rises, 


50        THE  CARNIVAL  OF  AUTHORS. 

and,  bursting  into  tears,  draws  her  apron  o\er  her 
face  and  crosses  to  left  corner,  pauses  a  moment  and 
looks  back  at  Harden,  who  returns  her  glance  and 
holds  up  his  hand  in  rebuke  to  some  of  the  peasants 
who  have  risen  to  pursue  her. 

TABLEAU   III. —  The  same  Scenes  as  in  I.  and  II 

None  dared  withstand  him  to  his  face, 
But  one  sly  maiden  spake  aside  : 
4  The  little  witch  is  evil-eyed  ! ' 

4  Her  mother  only  killed  a  cow, 
Or  witched  a  churn  or  dairy-pan  ; 
But  she,  forsooth,  must  charm  a  man  !' 

Esek  Harden  stands  for  a  while  undecided,  and 
finally  concludes  to  follow  Mabel  himself,  upon 
which  a  dark-eyed  maiden  at  the  right  upper 
corner  touches  her  companion,  and  the  peasants 
laugh,  after  his  departure,  and  rest  from  their 
husking,  which  has  been  going  on  during  the  two 
scenes  above. 

TABLEAU  IV. — Mabel  Martin's  lonely  home. 

She  strove  to  drown  her  sense  of  wrong, 
And,  in  her  old  and  simple  way, 
To  teach  her  bitter  heart  to  pray. 

Poor  child  !  the  prayer,  begun  in  faith, 
Grew  to  a  low,  despairing  cry 
Of  utter  misery  .  '  Let  me  die  ! ' 

A  very  poor  room,  furnished  only  with  a  low 
couch,  rough  table,  and  chair.  Mabel  runs  in  and 
sinks  into  the  chair  and  rests  her  head  on  the  table. 
The  scene  slowly  opens  at  the  back  and  shows  a 
vision  of  her  mother  on  her  knees  in  jail  with  a 
'  well-worn  bible  in  her  hand.'  The  vision  is  seen 
dimly  through  several  thicknesses  of  black  tartelon, 
behind  which  a  light  is  slowly  turned  up.  Mabel 
sinks  on  her  knees  in  the  attitude  of  prayer,  Harden 
enters,  and,  pausing  a  moment  to  listen,  takes  his 
place  by  her  side,  touching  her  shoulder,  Mabel 


THE  CARNIVAL  OF  AUTHORS.        51 

slowly  rises.  Harden  offers  his  hand,  which  Mabel 
slowly  accepts,  looking  up  timidly  into  his  face  and 
leaning  her  head  on  his  shoulder. 

rlad  then  God  heard  her,  had  he  sent 
His  angel  down  ?  In  flesh  and  blood 
Before  her  Esek  Harden  stood  ! 

TABLEAU  V. — The  Lovers. 

He  led  her  tli rough  his  dewy  fields, 
To  where  the  swinging  lanterns  glowed, 
And  through  the  doors  the  mistress  showed. 

A  country  landscape.  Mabel  and  Harden  are 
slowly  walking  hand  in  hand,  and  a  gleam  of  moon- 
light is  thrown  upon  them  from  the  calcium  light 
through  a  green  glass. 

TABLEAU  VI. — The  same  scene  and  persona  a* 
in  Tableau  I. 

'  Good  friends  and  neighbours,'  Esek  said, 
'  I'm  weary  of  this  lonely  life  ; 
In  Mabel  see  my  chosen  wife.' 

The  huskers  are  at  work  in  the  barn  as  before. 
Esek  Harden  enters  at  back-door  with  Mabel  on  his 
arm.  The  peasants  rise  in  astonishment,  and  make 
their  planners  to  Mabel  as  she  is  introduced  by 
Harden,  and  all  join  in  husking  to  the  music  of  any 
merry  chorus. 


WHHTIER  BOOTH  No.  ? 

SECOND  NIGHT. 


TABLEAU  I. — Maud  and  the  Judge 

Maud  Muller  is  raking  'hay,  dressed  in  a  loose 
jacket,  belted  in  at  the  waist  over  a  patched  and 
ragged  calico  skirt,  which  is  short,  showing  flesh- 
coloured  stockings  without  shoes.  On  her  head  is  a 
broad  straw  hat  with  a  ragged  brim  The  Judge 


52       THE  CARNIVAL  OF  AUTHORS. 

enters  in  a  riding  dress,  having  left  his  horse  in  the 
'  apple-tree  shade.'  She  goes  out  and  brings  a  small 
tin  cup  frono  which  he  drinks,  and  lingers,  talking 
as  if  he  found  it  hard  Co  tear  himself  away. 

TABLEAU  II. — The  Judge's  elegant  home. 

A  handsome  room  very  showily  furnished,  a  proud 
lady  in  a  silk  dress  sits  on  a  sofa  at  the  left  side 
turning  her  back  upon  the  Judge,  who,  in  3 veiling 
dress,  sits  by  a  small  table,  upon  which  is  a  silver 
salver,  holding  decanter  of  wine  and  glasses.  He 
holds  a  glass  in  his  hand  as  the  scene  opens  at  the 
back,  showing  through  gauzes  (as  described  above)  a 
vision  of  Maud  Muller  with  her  rake  and  tin  cup, 
just  as  she  stood  in  the  hay- field.  He  gazes  earnestly 
at  her  as  the  vision  slowly  fades  away,  and  then 
eagerly  drinks  a  glass  of  wine,  as  if  to  drown  his 
sorrows  and  forget  the  peaceful  past. 

TABLEAU  III. — Maud  Muller '«  Rustic  Home. 

A  poor  room  plainly  furnished,  Maud  sits  at  the 
right  of  the  stage  in  an  attitude  of  despair  and 
weariness ;  by  her  side  is  a  spinning  wheel  At  the 
left  by  a  small  pine  table,  in  a  chair  tipped  against 
the  wall  is  seated  a  rough  looking  man  asleep  with 
a  mug  of  ale  by  his  side,  and  a  long  pipe  in  his  hand. 
The  scene  slowly  opens  showing  the  judge  in  riding 
dress  just  as  he  appeared  in  scene  1.  Maud  raises  her 
head  and  gazes  earnestly.  As  the  vision  fades  away 
she  sinks  down  and  clasps  her  hands  arcoss  her 
knees  iii  sorrow. 

TABLEAU  IV. — Sabbath  Morning 

'  I  saw  her  dragged  along  the  aisle, 
Her  shackles  harshly  clanking; 
1  heard  the  parson,  ovei  all, 
The  Lord  devoutly  thanking  !  ,  • 

A  small  church,  a  woman  chained  hand  and  foot 
is  being  dragged  out  by  a  constable,  and  the  parson 


THE  CARNIVAL  OF  AUTHORS.  53 

in  black  gown,  stands  in  a  pulpit  at  the  background, 
his  eyes  uplifted  as  if  giving  hypocritical  thanks. 

TABLEAU  V.  —  Barbara  Fritchie. 

The  upper  part  ol  the  roof  of  a  small  gable  cottage, 
from  a  window  in  which  an  old  woman's  head  is 
seen,  as  if  guarding  an  American  flag,  which  stands 
on  a  short  staff  which  the  old  woman  holds.  An 
officer  in  grey  uniform,  is  seen  as  if  just  marching 
up  the  road. 

TABLEAU  VI. 

The  same  scene  as  in  the  last  Tableau,  except 
that  the  flag  appears  to  be  torn  by  a  volley  of  bullets, 
but  the  staff'  is  still  bravely  held  by  the  old  woman, 
who  holds  up  her  hand  as  if  daring  them  to  '  shoot 
this  old  grey  head,  but  spare  your  country's  flag 
she  said.'  In  this  scene  a  file  of  soldiers  are  shown 
at  the  right,  with  the  same  leader  at  their  head,  all 
wearing  grey  uniforms.  The  old  woman  has  a 
black  dress  with  a  white  kerchief,  and  her  hair  is 
very  white,  and  seems  flying  about  her  face,  which 
must  weai  a  very  excited  and  animated  expression. 


GOETHE  BOOTH  No  8 


TABLEAU  I. — German  aUd  Dorothea. 

A  beautiful  German  peasant  girl,  with  bright 
skirt  of  blue  arid  black  bodice  over  a  white  puffed 
waist,  sits  on  a  flowery  bank  weaving  a  wreath  of 
flowers,  while  a  peasant  youth  stands  with  his  hands 
full  _f  flowers  looking  on  in  admiration.  He  wears 
a  short  jacket  over  a  shirt  trimmed  with  ribbons, 
black  breeches  and  red  stockings. 


TABLEAU  II. — Wilheim 

A  youth  in  a  rough  peasant  suit,  a  knapsack  on 
his  back  and  a  bundle  tied  up  in  a  bright  handker- 
chief on  the  end  of  a  stick  over  his  shoulder,  is 
bidding  farewell  to  an  old  peasant  woman,  with 
brown  dress,  white  kerchief  and  apron,  with  a  very 
high  cap  over  her  snowy  hair,  who  stands  at  the 
door  of  a  low  cottage  giving  him  her  parting 
blessing.  Both  look  very  sad,  as  if  he  was  setting 
forth  on  a  journey  of  uncertain  length  and  duration. 

TABLEAU  III. — Mignon  and  the  Harper, 

A  very  aged  harper,  in  a  brown  robe  with  long 
white  hair  and  beard,  stands  by  a  high  golden  harp. 
By  his  side  stands  Mignon,  a  pretty  maiden  of 
eighteen  summers,  in  a  rough  black  skirt  kept  up 
with  a  single  strap  across  the  left  shoulder,  over  a 
loose  white  waist  made  of  coarse  unbleached  muslin. 
Her  dark  hair  falls  over  her  shoulders,  and  she  has  a 
general  aspect  of  mildness. 

TABLEAU  IV. — Mignon  lamenting  Tier  native  land. 

She  sits  on  a  high  rock  by  the  sea,  with  her  head 
bowed,  her  hands  clasped  across  her  knees,  and  she 
seems  looking  far  away,  with  a  home-sick  longing 
for  the  home  which  she  has  left  for  ever. 

TABLKAU  V. —  Wilheim  Meister  and  the  players. 

The  wandering  apprentice  has  fallen  in  with  a 
c« mi ] 'any  of  strolling  players,  who  are  enacting 
Hamlet  after  a  fashion  of  their  own,  on  a  rude  stage 
which  they  have  extemporised  for  the  occasion.  The 
duel  between  Hamlet  and  Laertes  is  going  on,  which 
Wilheim  seems  enjoying  heartily  as  he  forms  one  of 
the  scanty  audience  which  is  arranged  at  the  left, 
the  front  bench  only  being  visible,  while  the  stage 
is  placed  across  the  right  end  of  the  booth,  affording 
a  glimpse  of  Hamlet,  in  rusty  black  velvet,  fencing 
with  his  opponent,  in  an  equally  shabby  suit  of  blue. 


THE  CARNIVAL  OF  AUTHORS.        55 

Che  spectators  are  dressed  in  the  costume  of  German 
peasants,  which  has  been  described  above. 

TABLEAU  VI. — Lili  and  the  Doves. 

A  German  peasant  girl,  dressed  in  blue  skirt  and 
bodice,  white  waist,  and  broad  straw  hat,  is  caress- 
ing a  beautiful  white  dove.  She  has  a  long  basket 
on  her  right  arm,  in  which  are  two  doves,  and  two 
more  are  hanging  on  wires,  as  if  fluttering  about 
her.  The  stuffed  doves  are  of  course  used,  suspended 
on  fine  black  wires,  which  are  of  course  invisible, 
and  give  an  extremely  natural  and  picturesque  effect 
to  the  picture. 


GOETHE  BOOTH  No.  8 

SECOND  NIGHT. 


TABLEAU  I. — Faust  and  Marguerite. 

Marguerite  stands  alone  in  the  foreground,  in  a 
white  dress  with  blue  bodice  and  apron.  She  holds 
in  her  left  hand  a  daisy,  from  which  she  is  picking 
the  leaves,  as  if  telling  her  fortune.  Her  eyes  are 
cast  down  sadly  and  modestly. 

TABLEAU  II. 

Mephistophiles,  in  a  suit  of  red  with  black  trunki 
and  short  cloak,  is  standing  at  the  left  of  the  stage, 
pointing  with  his  right  hand  toward  the  centre, 
which  slowly  opens,  showing  behind  a  gauze  curtain 
the  vision  of  Marguerite,  who  is  seated  at  a  flax 
wheel,  in  a  gleam  of  moonlight,  her  long  flaxen  hair 
hanging  in  a  braid,  and  dressed  in  white  and  blue. 
Faust,  in  a  velvet  shape  dress,  stands  at  the  left  of 
Mephistophiles,  whose  left  hand  is  on  his  shoulder. 
He  stands  regarding  4he  vision  as  if  entranced,  and 
when  it  fades  away  he  falls  upon  his  knees  and 
reaches  out  his  arms  toward  it  in  admiration. 


56  THE  CARNIVAL  OF  AUTHORS. 

TABLEAU  IIL — Marguerite  and  her  Mother. 

The  old  lady  in  a  high  cap,  white  kerchief  and 
apron  over  a  black  dress,  sits  in  a  high  chair  over 
the  back  of  which  Mephistophiles  is  leaning,  looking 
down  up  m  her  with  a  sinister  smile,  while  Margue- 
rite kneels  at  her  feet  on  the  left  side. 

TABLEAU  IV. 

Faust  and  Mephistophiles  are  seated  at  a  table  on 
which  is  a  dish  of  fruit,  and  a  decanter  and  glasses. 
The  former  looks  down  sadly  as  if  in  thought,  and 
the  latter  is  scowling  at  him  with  a  look  of  triumph. 

TABLEAU  V. 

Faust  and  Marguerite  are  seen  together,  she  is 
seated  on  a  high- backed  chair,  and  he  is  bending 
over  her  in  adoration,  while  she  looks  up  in  his  face 
in  modest  affection.  She  is  dressed  in  a  robe  of  blue 
silk  with  puffs  of  wine  coloured  satin  on  the  sleeves, 
and  her  hair  is  ornamented  with  pearls.  He  wears 
a  shape  dress  of  velvet  slashed  with  satin. 

TABLEAU  VI. — The  Apotheosis  of  Marguerite. 

She  is  dressed  in  a  long  white  robe,  and  reclines 
upon  a  board,  which  stands  upon  posts,  the  ones  to- 
ward the  right  where  her  head  rests,  being  eight 
feet  high,  and  the  lower  ones  five  feet  high.  Two 
angels  stand  in  front  to  conceal  the  posts  and  two 
stand  behind  the  board,  a  strip  of  light  blue  cambric 
is  placed  across  the  front  to  hide  the  boxes  on  which 
the  angels  stand,  and  a  curtain  of  the  same  is  hung 
behind  them.  The  outlines  of  clouds  are  drawn 
with  chalk  on  this  cambric,  which  must  be  lighted 
with  red  calcium  light.  The  angels  wear  high  wings 
and  long  robes  made  of  very  coarse  and  sheer  un- 
bleached muslin,  with  which  the  wings  boards  and 
posts  are  also  covered.  All  have  light  hair  which  is 
crimped  and  floating  over  their  shoulders.  A  chant 
by  a  concealed  and  distant  chorus  adds  much  to  this 


THE  CARNIVAL  OF  AUTHORS.  57 

scene,  which  if  two  lights  are  used  can  be  lighted  in 
blue  on  one  side,  leaving  red  glass  over  the  right 
lens,  and  then  slowly  changing  both  to  amber  and 
bright  yellow. 

THE  INTERVALS 


It  will  be  seen  by  a  glance  at  the  General  Pro- 
gramme that  six  intervals  occur  while  the  booths 
are  shut  while  preparing  for  each  of  their  tableau, 
and  it  is  a  principle  of  the  Carnival  that  the  at- 
tention of  the  spectators  is  kept  constantly 
occupied,  so  a  scene  must  always  be  kept  ready  on 
the  main  stage  to  fill  these  short  delays.  For  this 
purpose  twelve  scenes  are  given  here,  six  for  each 
night,  which  can  easily  be  arranged  in  the  short 
time  occupied  by  each  of  the  booth  exhibitions. 

TABLEAU  I. — The  Exiles — a  boat  scene. 

For  this  the  barge  which  has  already  been  dis- 
cribed  is  used,  being  placed  in  the  fourth  entrance, 
leaning  against  three  tables  which  are  placed  in  a 
row,  leaving  a  space  of  ten  inches  between  the  first 
and  second.  The  boat  leans  against  these  tables 
which  also  form  the  deck  of  the  craft.  A  strip  of 
water  is  placed  across  the  stage  in  the  third  Vow 
of  groves,  and  a  foreground  with  rocks  in  the  second 
row.  A  horizon  scene  is  used  in  the  fourth  row,  and 
when  the  figures  are  well  grouped  upon  the  tables 
the  effect  is  exactly  as  if  they  were  floating  in  a 
boat  on  the  ocean. 

In  this  scene  a  party  of  Spanish  Gipsies  are 
leaving  their  native  land.  A  dark  lady  stands  in 
centre,  leaning  with  one  hand  on  the  shoulder  of  a 
tall,  dark,  heavily  bearded  man  who  leans  upon  his 
musket  in  sullen  despair.  In  the  stern  a  graceful 
brunette  is  aiming  with  a  pistol,and  a  little  girl  clings 


5«        THE  CARNIVAL  OF  AUTHORS. 

to  wor  knees  in  teiror,  while  at  the  bow  another  lady 
is  taikmg  to  a  boy  who  looks  eagerly  up  into  her 
face,  as  if  listening  to  the  story  of  his  country's 
wrongs.  Bundles,  done  up  in  bright  handkerchiefs, 
are  pilad  about  with  rough  boxes  tied  with  rough 
ropes.  The  boatman  stands  oar  in  hand  on  the 
floor  behind  the  boat  in  the  space  between  the 
tables.  The  costume  of  the  ladies  is  bright  red  and 
yellow  skirts,  with  sashes  and  loose  waists.  The 
men  have  reo:  flannel  shirts,  velveteen  trousers, 
bound  with  a  bandage  of  white  cloth  reaching  to 
the  knee  and  wound  with  bright  braids. 

TABLEAU  II. — The  Parting  Shot. 
This  is  the  same  grcup  as  the  preceding,  except 
that  the  man  has  given  way  to  a  feeling  of  revenge 
and  is  bending  forward  and  aiming  with  his  gun,  as 
if  bent  on  the  destruction  of  his  enemy.  His  wife 
is  crouching  in  terror  at  his  side ;  the  lady  at  the 
bow  is  looking  at  some  object  which  the  boy  seems 
pointing  out,  while  the  one  at  the  stern  bends  with 
an  attitude  of  despair  over  the  child  who  lies  at  her 
feet. 

TABLEAU  III. — Morning  Glories. 

A  lovely  blonde  maiden  holds  in  the  air  a  long 
vane  of  morning  glories,  one  end  of  which  she  has 
twisted  about  the  shoulders  of  a  dark-eyed  child, 
who^is  trying  in  vain  to  disentangle  herself,  and  at 
their  feet  a  little  blonde  girl  tries  to  drink  from  one 
of  the  morning  glories;  the  two  blondes* are  dressed 
in  white  muslin,  and  the  dark-eyed  girl  in  red. 

TABLEAU  IV. — Rustic  Coquetry. 

This  may  more  properly  be  called  a  scene  or 
operetta,  for  a  gentleman  dressed  as  a  fop  meets  a 
milkmaid  in  a  dress  of  bright  figured  creton  and  a 
flat  hat.  She  carries  a  milking  stool  in  one  hand 
and  a  pail  in  the  other,  and  they  sing  and  act 
together  the  song  '  Oh  where  are  you  going  to,  my 


THE  CARNIVAL  OF  AUTHORS.        59 

pretty  maid,'  from  the  Baby  Opera,  which  can  also 
be  found  in  any  music  store  on  a  single  sheet.  As 
the  refrain  is  sung  they  cross  over  and  curtsey 
twice,  and  at  the  end  she  makes  him  a  saucy 
curtsey  and  exits  left,  leaving  him  in  confusion 

TABLEAU  V. — The  Avenger. 

This  is  a  celebrated  group  of  statuary,  and  is  per- 
formed by  a  very  large  lady  and  two  children,  she 
is  in  the  act  of  slaying  one  with  a  huge  knife,  while 
the  other  on  the  right  with  uplifted  hand  is  trying 
to  stop  the  blow. 

TABLEAU  VI. — Bemorse. 

This  is  done  by  the  same  persons  as  the  former 
with  a  complete  change  of  grouping. 

The  victim  lies  on  the  pedestal  with  her  right 
arm  and  head  hanging  over  the  post.  The  other 
child  kneels  with  her  face  buried  in  her  hands,  while 
the  avenger  seems  looking  with  horror  jn  the  deed, 
and  with  clenched  hands  and  averted  face  stands  in 
the  centre. 


SECOND    NIGHT. 

TABLEAU  I. — Reverie. 

This  is  also  a  boat  scene,  for  which  the  boat  is  set 
as  described  in  the  exiles,  but  it  is  now  occupied  by 
a  group  of  court  ladies,  who  seem  to  have  strayed 
away  from  some  palace,  and  to  be  drifting  carelessly 
on  a  lake  in  the  park.  They  wear  dresses  of  rich 
silk — the  one  in  the  bow  is  caressing  a  pet  dove 
which  is  perched  upon  her  shoulder.  In  the  centre 
a  dark  lady  with  a  crimson  dress  holds  across  her 
lap  a  fair  young  blonde  in  white,  whose  rounded 
arm  is  thrown  over  the  lap  of  her  friend  and  she 
seems  lost  in  a  delicious  day  dream.  At  the  stern, 
a  lady  in  black  is  weaving  a  chaplet  of  lillies,  which 
is  destined  for  the  head  of  a  young  lady  who  seems 


60        THE  CARNIVAL  OP  AUTHORS. 

to  have  gathered  a  lapful  of  them,  and  to  have 
hastily  sprung  on  the  boat  just  as  it  was  leaving 
the  shore. 

TABLEAU  II. — Labor  vincet  omnia. 
This  group  of  statuary  is  composed  of  one  large 
man  and  three  ladies.  The  man,  in  white  tights 
with  plaited  skirt  and  cap,  stands  on  the  top  of  a 
pyramid  made  of  boxes  and  tables ;  he  stands  by  an 
anvil  and  is  in  the  act  of  striking  with  a  sledge 
hammer ;  below,  on  the  right,  a  lady  stands  leaning 
on  a  rake,  and  on  the  left  is  another  kneeling  by  an 
anchor.  In  front,  much  lower  down,  is  a  smaller 
lady  holding  a  broom  as  in  the  act  of  sweeping.  All 
the  articles  are  of  course  covered  with  white  muslin. 
The  figures  are  draped  in  sheets  as  described  above. 

TABLEAU  III. — Art  and  Artifice. 
The  scene  represents  a  studio  in  the  ancient  time, 
articles  of  curiosity  and  beauty  lie  carelessly  around, 
a  guitar  leans  against  an  antique  chair,  on  which 
draperies  of  heavy  and  high-coloured  material  have 
been  thrown  with  careless  grace.  On  a  raised  plat- 
form, in  an  attitude  of  studied  elegance,  a  young 
lady  is  posing  for  a  portrait,  which  is  being  painted 
by  an  artist  in  the  picturesque  costume  of  Rubens 
with  a  shape  suit  of  purple  velvet.  After  painting 
awhile  on  a  picture  which  stands  at  the  left,  the 
artist  seems  to  have  forgotten  his  work  in  rapt 
admiration  of  his  lovely  sitter,  whom  he  approaches 
slowly  as  if  under  a  spell.  Bending  for  a  moment 
above  her,  with  his  left  hand  on  her  chair,  in 
response  to  a  bewitching  glance,  he  falls  at  her  feet, 
seizing  her  hand.  At  this  moment  a  window  flies 
open  at  the  back  of  the  scene,  and  a  lovely  little 
cupid  leans  out,  aiming  with  his  bow  at  the  artist, 
who  remains  in  the  same  position  until  the  close  of 
the  scene. 

TABLEAU  IV. — The  Duchess  of  Gainsborough. 
This  is  a  framed  picture,  and  represents  a  lady  in 
a  brocade  dress  and  high  ruffle,  wearing  a  large  leg- 


THE  CARNIVAL  OF  AUTHORS.        61 

horn  hat  on  the  back  of  her  head,  and  holding  in 
her  arms  a  poodle  dog. 

TABLEAU  V. — The  Height  of  Sentiment. 

A  short  fat  man  foppishly  dressed,  is  gazing  up 
adoringly  in  the  face  of  a  widow  who  stands  by  him, 
she  stands  on  a  high  stool,  which  is  concealed  by  the 
very  long  skirt  she  wears  so  she  appears  to  be  about 
ten  feet  tall.  He  mounts  a  chair  and  takes  her  hand 
while  she  makes  him  a  low  courtesy. 

TABLEAU  VI. — The  Improvisatore. 

In  this  scene  eight  dark  eyed  oriental  ladies  in 
Jewish  costume,  are  gathered  around  a  magnificent 
lady  who  stands  on  the  top  of  a  high  pile  of  rocks; 
they  have  all  musical  instruments,  one  a  harp,  two 
tambourines,  two  cymbols  and  three  guitars,  and 
seem  to  be  spell-bound  in  listening  to  the  story  of 
the  wrongs  inflicted  on  their  people.  All  at  last 
with  common  consent  take  up  their  instruments  and 
seem  to  be  joining  in  a  national  chant. 

NOTE. 

In  the  most  successful  carnivals  it  is  thought 
better  to  change  the  programme  every  other  night, 
and  for  this  reason,  the  two  varied  programmes 
have  been  given.  Six  nights  are  usually  found  to 
be  enough,  as  the  young  ladies  are  apt  to  grow  tired 
after  so  much  excitement.  In  many  cities  it  is 
arranged  therefore  only  to  invite  the  performers  for 
alternate  evenings,  and  thus  to  repeat  on  these 
nights  the  same  scenes.  By  attending  closely  to  the 
signals  much  is  gained,  as  the  effect  is  exceedingly 
fine  if  all  the  curtains  of  the  booths  on  one  side  of 
the  hall  go  up  simultaneously.  It  is  equally  im- 
portant that  they  should  go  down  precisely  at  the 
same  moment,  but  that  is  very  much  easier,  and  a 
little  practice  will  enable  the  boys  or  aids  who  draw 
the  curtains  to  attain  an  almost  equal  rapidity.  In 
many  of  the  cities  great  dissatisfaction  was  felt  at  a 
want  of  seats,  as  ladies  were  very  tired  of  standing 


-62        THE  CARNIVAL  OF  AUTHORS. 

for  over  two  hours.  The  only  successful  plan  has 
been  found  to  have  rows  of  seats  in  the  floor  of  the 
hall  as  well  as  in  the  galleries. 

The  far-famed  Jarley  Wax  Works,  which  was 
acknowledged  to  be  the  crowning  feature  of  the 
Boston  Carnival,  will  be  found  very  successful  in  the 
Dickens'  Booth  for  a  change  on  all  of  the  nights,  and 
also  on  the  main  stage  every  evening,  as  they  are 
very  attractive,  and  have  drawn  crowded  houses  in 
nearly  every  city  of  the  United  States,  and  are  now 
being  used  weekly  in  this  country  and  in  Europe. 
The  space  is  too  small  to  give  any  idea  of  them 
here,  so  we  will  simply  content  ourselves  with  the 
mention  that  two  books  on  this  subject,  of  about  the 
size  of  this  book,  can  be  had  of  Samuel  French  & 
Son,  dramatic  publishers,  Union  Square,  New  York, 
of  whom  they  can  be  ordered  at  any  time.  They 
contain  full  and  minute  directions  for  costumes, 
motions,  and  all  facts  necessary  for  producing  hun- 
dreds of  these  figures,  with  the  original  speeches 
and  descriptions.  All  are  advised  tj  secure  these 
books  at  once,  as  they  will  be  found  interesting  to 
read,  as  well  as  very  profitable,  if  the  plain  instruc- 
tions are  followed,  which  any  child  can  easily  do. 


After  the  regular  aeries  of  Tableaux  and    Wax 
Works 

THE    MINUET 

»s  danced  upon  the  main  stage  by  four  couple* 
Costumed  in  the  style  of  Louis  XIV.  The  ladies 
Save  powdered  hair  ornamented  with  feathers, 
flowers  and  precious  stones.  The  dresses  are  cut 
square  in  the  neck,  with  an  over-dress  of  rich  bro- 
cade handsomely  looped  with  flowers  or  ribbons  over 
a  petticoat  of  white  or  coloured  satin  em  ^roidered 
in  flowers  and  gems.  A  fine  effect  can  be  produced 
by  painting  the  flowers  on  the  satin  and  sewing 
glittering  beads  or  paste  jewels  in  the  centre  of  each 
of  the  blossoms.  The  trains  are  worn  very  long 


THE  CARNIVAL  OF  AUTHORS.  6£ 

Mid  the  slippers  are  neatly  trimmed.  They  wear 
long  kid  gloves  and  patches  of  court  plaster 
on  the  face.  These  patches  are  sometimes  cut 
into  quaint  and  curious  devices,  such  as  animals, 
carriages,  flowers.  The  men  wear  square-cut  coats 
of  velvet  or  satin  trimmed  with  gold  or  silver  lace; 
very  long  waistcoats  embroidered  in  gilt  or  colours, 
with  large  flaps  to  the  pockets,  and  ruffled  shirts 
with  white  laces  around  the  neck,  and  on  the  cuffs 
of  the  coats.  The  breeches  should  be  of  the  same 
material  as  the  coats,  and  either  of  the  same  colour 
or  of  white.  Huge  bows  and  buckles  ornament 
the  shoes,  and  the  hose  are  of  white  silk.  The  sets 
may  be  doubled ;  but,  unless  the  stage  is  very  large, 
the  effect  is  finer  with  only  one  set  of  four  couples, 
as  beforementioned,  as  much  room  is  needed  for  the 
stately  bows  and  marches  which  it  requires.  Any 
figures  can  be  used,  but  the  following  arrangement 
is  very  much  admired  and  was  used  at  the  most 
elaborate  Carnival  which  has  come  under  our  notice. 
The  best  music  is  Mozart's  Minuet  from  Don 
Giovanni,  as  the  time  is  so  plainly  marked  as  to  be 
easily  followed. 

FIGURE  I. — The  Salutation. 

Begin  with  the  inside  foot,  which  is  of  course  the 
one  next  the  partner.  Always  turn  the  head  away 
from  the  foot  on  setting  out,  and  on  stopping  at  the 
end  of  the  fourth  bar  of  music  salute  partner  and 
corner.  Head  couples  advance  four  steps, .  salute, 
and  retreat  to  places.  Sides  same. 

FIGURE  II. — The  Coquette  Arches. 

All  advance  four  steps,  swing  ladies  to  centre, 
holding  hands  very  high,  gentlemen  retreat  four 
steps,  return  facing  audience  and  join  hands,  held 
very  high,  the  ladies  march  out  of  the  arches  each 
towards  her  own  place,  salute,  swing  to  places,  and 
salute  again. 

FIGURE   III. — The  Flirtation. 

The  ladies  cross  right  hands,  swing  half  round, 
left  hands  back  and  remain ;  gentlemen  follow 


64       THE  CARNIVAL  OF  AUTHORS. 

them,  taking  care  to  keep  in  the  middle  of  the 
spaces  left  between,  and  when  the  ladies  stop  each 
salutes  her  partner,  and  bows  very  low  to  him,  and 
then  bows  backwards  to  the  gentleman  behind  her, 
raising  her  fan  to  her  eyes  and  looking  over  it  at 
the  same  time. 

FIGURE  IV.— The  Pyramid. 
First  four  swing  partners  across  »id  change  sides, 
all  advance  in  two  lines  and  bow  l/.w,  forward  again 
and  join  hands  with  the  opposite  So  all  stand  in 
two  lines  facing  the  front  of  t'-e  stage.  The  first 
lady  promenades  down  the  centre,  followed  by  her 
partner.  She  must  not  stooy,  but  the  hands  divide 
just  as  she  reaches  then,  and  close  behind  her 
partner,  who  follows  her  closely ;  the  lady  must  go 
out  at  the  side  opposite  to  the  one  on  which  she 
started,  and  salute  her  partner,  who  swings  her  into 
the  line,  and  they  join  hands  in  front ;  all  retreat 
four  steps.  When  all  have  passed  down,  the  uplifted 
hands  are  dropped  at  precisely  the  same  moment, 
and  hands  are  joined  at  the  sides,  and  the  couple 
who  passed  down  first,  who  will  now  be  at  the  back 
of  the  stage,  join  hands,  and  they  all  open  out  across 
the  stage,  bowing  their  heads  low  until  the  scene  is 
shut  in  front  of  them. 

THE  GRAND  FINALE. 

All  the  characters  on  the  main  stage  and  in  all  of 
the  booths  are  arranged  on  their  respective  stages  in 
a  pyramid;  those  at  the  back  standing  on  high 
tables  and  others  on  boxes  in  front  of  them.  Tall 
ladies  and  gentlemen  next  form  a  row,  and  the 
children  come  next,  while  in  the  front  row  a  party 
of  young  peasants  sit  on  the  stage.  When  all  are 
ready  the  trumpet  sounds,  and  all  the  curtains  rise 
at  once.  The  calcium  lights  show  their  gayest 
colours,  and  the  orchestra  plays  its  most  brilliant 
music.  After  a  pause  of  two  minutes,  the  last  signal 
is  sounded  and  all  the  curtains  fall  together  at 
THE  END  OF  THE  CARNIVAL. 


THEATRICAL  AND  FANCY  COSTUME  WIGS. 

The  following  Wigs  are  kept  in  Stock,  but  any  Wig  can  be  made  to  ord«f 
No  WIG&  LENT  OUT  ON  HIRE. 


White  Old  Man $4  50 

Iron  Gray 4  50 

Yankee 4  5v» 

Irish 4  50 

Crop,  all   colours 4  50 

Fright 5  00 

Negro 1  50 

"      (White  Old  Man) 1  50 

"      (Gray       "       ") 150 

"      (with  Topknot) 1  50 

"      (Wench) 5  00 

Sir  Peter  Teazle 5  00 

Shy  lock 4  50 

Court  Wig,  with  Bag 4  50 

"      Tie 4  50 

Paul  Pry • 4  50 

Dundreary 5  50 

Light  Dress  Wig,  with  Parting 5  50 

Gentlemanly  Irish,  with  Parting 5  00 

Bald  Wig 4  00 

Rip  Van  Winkle 4  00 

Gray  Dress  Wig,  with  Parting- 4  00 

White    "        "         "          " 4  00 

Clown  in  Colours ................  3  75 

Pantaloon  Wig  and  Beard ....... 5  00 

Robinson  Crusoe 4  50 

Monk 4  00 

Box  and  Cox 3  50 

Chinaman,  with  Pigtail 5  00 

LADIES. 

Court  Wig 6  50 

Grand  Duchess 6  50 

Lady  Teazle 7  00 

Marie  Antoinette 7  50 

BEARDS. 

Complete,  with  Moustaches  and  Whiskers 1  79 

To  go  round  Chin  on  wire 1  50 

WHISKERS. 

With  Moustache,  on  wire 1  50 

Mutton  Chop  shape 1  50 

Moustache,  ordinary 40 

Very  superior,  Real  Hair  worked  on  Gauze 60 

CRAPE    HAIR. 

Black,  White,  Light  Brown,  Dark  Brown,  Iron  Gray,  and  Red, 
per  yard • 9 


DARKEY   DRAMA. 

Price  40  cents,  each  Part. 

A  Collection  of  approved  Ethiopian  Acts,  Scenes,  Interludes,  &c. 

PART!.—  The  Echo,  for  2  principals  and 

Tailor's  Strike,  or,  Highest  Price  for 

1  non-speaker  ;  Deaf  —in  a  Horn,  2 

Left-off  Clothes,  an  original  darkey 

chars.  ;  Railroad  Explosion,  act  in  2 

drama,  3  chare.;  Old  Hunks,  an  ori- 

scenes, for  company  ;  Dar's  de  Money 

ginal  sketch,  3  chars.  ;  Handy  Andy, 

(Othello  burlesque),  2  chars.  ;  Tit'pa 

a  darkey  sketch,  2  chars.  ;  Villikins 

nonion,  musical  actfor  principals  and 

and  Dinah  ,  a  negro  farce,  5  chars. 

company  ;  Stocks  Up,  Stocks  Down,  'A 

PAUT  VI.  —  Box  and  Cox,  a  nigger  farce, 

principalsand  instrumental  quartette  ; 

3   chars.;    Othello,    Ethiopian   Bur- 

Challenge Dance;  De  Trouble  Begins 

lesque,  5  chars.  ;  No  Cure,  no  Pay, 

atNiue,  2  chars.  ;  Scenes  in  the  Studio, 

Ethiopian  farce,  4  chars.  ;  Black  Mail, 

3  chars.  ;  16,000  Years  ago,  3  chare. 

negro  comicality,  3  chars.  ;  Nobody's 

PABT  II.  —  Virginia    Mummy,    farce,   7 

Sou,  Ethiopiau  act,  2  chars.  ;  Hypo- 

chars, ;  Mischievous  Nigger,  6  chars.; 

chondriac,  negro  farce,  2  chars. 

Jolly  Millers,  4  chars.  ;  Sham  Doctor. 

PABT      VII.  —  Quarrelsome    Servants, 

6  chars.  ;  The  Coopers,  7  chars. 

Ethiopian  interlude,  3chare.;  Camille, 

PART  III.  —  Quack  Doctor,  6  chars.  ;  Oh, 

negro  interlude,  2  chars.  ;  Les  Mis6- 

Hush,  or  The   Virginny   Cupids,    4 

rables,  negro  farce,  3  chars.  ;  Sports 

chars.  ;  The  Troublesome  Servant,  an 

on  a  Lark,  negro  interlude,  3  chars.  ; 

Ethiopian  Interlude,  2  chars.  ;  Rooms 

Comedy   of  Errors,  an   uproarious 

to  Let  without  Board,  an  Ethiopian 

burlesque,  9  chars.  ;  Black   Statue, 

farce,  3  chars.  ;  Th  e  Black  Shoemak'r,  a 

Ethiopian  farce,  6  chars. 

negro  farce,  Gchars.  ;  Uncle  Jeff,  7chars. 

I\AKT  VIII.—  Stage  Struck  Darkey,  an 

PABT  IV.—  An  Unhappy  Pair,  an  Ethio- 

interlude, 3    chars.  ;   Rival    Lovers, 

pian  farce,   3  chars.  ;   Sport  with  a 

negro  farce,  6  chars.  ;  Haunted  House, 

Sportsman,    an    Ethiopian    extrava- 

Ethiopian sketch,  2  chars.  ;  Old  Dad's 

gance,  2  chars.  ;  Three  Blacksmiths, 

Cabin,  negro  farce,  4  chars.  ;  Portrait 

an  original  Ethiopian  eccentricity,  3 

Painter,  pantomime  farce,  5  chars.  ; 

chars  ;  A  Night  in  the  New  Hotel,  an 

Thieves  at  the  Mill,  Ethiopian  drama, 

original  African  fancy,  3  chars.  ;  The 

6  chars. 

Great  Arrival,  an  Ethiopian  scene,  3 

PART  IX.  —  Bone  Squash,  a  comic  opera, 

chars.  ;  The  Hop  of  Fashion,  a  negro 

12  chars.  ;  William  Tell,  an  Ethiopian 

farce,  12  chars. 

interlude,  4  chars.;  The  Feuian  Spy, 

PART  V.  —  The  Magic  Penny,  a  nigger 

or   John  Bull  in  America,  3  chars.  ; 

melodrama,  8  chars.;  Fetter-lane  to 

Hamlet,  the  dainty,,an  Ethiopian  bur- 

Oravesend, or  a  Dark  Romance,  from 

lesque,  7  chars.  ;  United  States  Mail, 

the    "Bail  way   Library,"    3   chars.; 

a  farce,  4  chars. 

ETHIOPIAN  DRAMAS. 

Price  15  cents  each.     Sent  ?>y  Mail  on  Receipt  of  Price. 

Scene  M   P 

Scene  M  jt 

Academy  of  Stars     .  .        .  .    2       51 

Deserters        1       40 

Actor  and  Singer      .  .         .  .     1        40 

De  Trouble  begins  at  9      .  .    1        20 

Arrival  of  Dickens  .  .         .  .     2        60 

Echo  Band      1        30 

Black  Crook   2        72 

Feast    1        51 

Black  Mail      1        30 

Fenian  Spy     ..         ..         ..1       21 

Black  Ole  Bull          .  .         .  .     1        40 

Fighting  for  the  Union      .  .    3       42 

Black  Shoemaker     .  .         .  .     1        42 

Great  Arrival  1        30 

Black  Statue  1        42 

Hamlet  the  Dainty  ..        ..3       61 

Blackest  Tragedy  of  all      ..     1        71 

Handy  Andy  1        20 

Blinks  and  Jinks      .  .         .  .     1        31 

Haunted  House        ..        ..1        20 

Boarding  School      .  .         .  .     1        50 

Highest  Price  for  Ole  Clothes  1        30 

Bone  Squash,  2  acts..        ..8        93 

Hop  of  Fashion        .  .         .  .     2       90 

Box  and  Cox  1       21 

Hypochondriac        .  .        .  .     2        20 

Camille           1        11 

Intelligence  Office    .  .        .  .     1        21 

Challenge  Dance       .  .         .  .     1        30 

Jack's  the  Lad          ..         ..6        72 

Comedy  of  Errors     .  .         .  .     4        42 

Jeemes  the  Poet      .  .        .  .     1        40 

Coopers           1        61 

Jolly  Millers  1       31 

Corsican  Twins        .  .         .  .     1        71 

Les  Mi  sera  hies          .  .         .  .     1        30 

Cousin  Joe's  Visits  .  .         .  .     1        21 

Magic  Penny  3        61 

Dar's  de  Money        .  .        .  .     1        11 

Mazeppa,  2  acts       .  .        .  .     5        72 

Dead  Alive     1        30 

Mischievous  Nigger..         ..1       42 

Deaf  as  a  Post          .  .         .  .     1        20 
Deaf—  in  a  Horn       .  .         .  .    1        20 

Mystic  Spell     7        70 
New  Year's  Calls      .  .        .  .    6       62 

J 

